Anthropology  Library 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  I 


Plate  I 

(Frontispiece.) 

Interior  of  a  shallow  chalice  artistically  decorated  with  alligator  motives,  the  central 
figure  being  that  of  the  alligator-god :  a  gem  of  aboriginal  art  and  symbolism. 
Three-fifths.  Page  159.  (See  PI.  XLV.) 


MEM.  CONN.  ACAD.,  Vol.  III. 


MEMOIRS  OF  THE 

CONNECTICUT  ACADEMY  OF  ARTS  AND  SCIENCES 

INCORPORATED  A.  D.   1799 

VOLUME  IK  MARCH,  1911 


A  Study 
of  Chiriquian  Antiquities 


BY 


GEORGE  GRANT  MAC  CURDY,  Ph.D. 

ASSISTANT  PROFESSOR  OF  ARCHEOLOGY,  AND  CURATOR 

OF  THE  ANTHROPOLOGICAL  COLLECTION 

YALE  UNIVERSITY 


NEW  HAVEN,  CONNECTICUT 
YALE  UNIVERSITY  PRESS 

IQI  I 


LIBRARY 

Add'l 


GIFT 

6-if:    • 


A'  lia^rr  eTT 


WEIMAR  :   PRINTED  BY  R.  WAGNER  SOHN 


PREFACE. 

This  volume  is  chiefly  the  result  of  a  careful  study  of  the  unparalleled  collec- 
.  tions  of  Chiriquian  antiquities  belonging  to  Yale  University.  These,  and  especially 
the  gold  ornaments,  have  been  supplemented  by  other  collections,  public  and 
private,  notably  those  of  Mr.  George  G.  Heye  and  of  Mr.  Minor  C.  Keith,  both 
of  New  York.  If  the  work  has  merits,  they  are  due  in  no  small  measure  to  the 
character  and  extent  of  the  collections  examined.  Its  defects  should  be  ascribed 
in  part,  at  least,  to  the  fact  that,  having  been  prevented  by  force  of  circumstances 
from  visiting  the  region  in  question,  my  investigations  have  been  limited  to 
museums  and  libraries.  For  this  reason  the  choice  of  title :  "  A  Study  of  Chir- 
iquian Antiquities,"  would  seem  to  be  particularly  appropriate.  Unless  otherwise 
stated  in  their  description,  the  illustrations  are  from  specimens  in  the  Yale 
collection. 

From  the  view-point  of  conventionalism,  the  art  of  Chiriqui  is  so  instructive  that 
much  space  is  given  to  the  evolution  of  decorative  motives  from  animal  forms. 
In  this  connection,  I  wish  to  acknowledge  my  indebtedness  to  two  previous  writers 
on  the  subject.  Professor  F.  W.  Putnam  of  Cambridge.  Mass..  and  Professor 
William  H.  Holmes  of  Washington,  D.C.  The  nature  of  the  study  has  necessitated 
the  free  use  of  illustrations,  in  the  preparation  of  which  much  care  has  been 
bestowed.  With  the  exception  of  the  drawings  from  tracings,  the  illustration  from 
de  Bry  (fig.  324).  and  the  five  cuts  (figs.  277,  278,  331.  332.  365),  for  the  use  of 
which  my  thanks  are  due  to  the  Bureau  of  American  Ethnology,  they  were  all 
made  for  this  volume  by  Mr.  Rudolph  Weber  of  New  York,  and  his  assistant, 
Mr.  William  Baake.  The  cost  of  the  drawings,  both  pen-and-ink  and  water-color, 
has  been  borne  by  Mrs.  Evelyn  MacCurdy  Salisbury  of  New  Haven,  without  whose 
generous  cooperation  the  work  could  not  have  been  prepared. 

Among  others  whom  I  desire  to  thank  for  cooperation  in  various  ways  should 
be  mentioned  Professor  Charles  Schuchert  for  facilities  at  the  Museum.  Professor 
Joseph  Barrell  for  determining  the  nature  of  the  materials  from  which  the  stone 
objects  were  made,  Mr.  Max  Dessauer  for  testing  the  powers  of  the  musical  in- 
struments. Professor  J.  W.  D.  Ingersoll  for  the  translation  of  a  sixteenth  century 
text,  and  Professor  B.  B.  Boltwood,  Dr.  C.  H.  Mathewson,  Dr.  George  F.  Kunz  of 
New  York,  and  Mr.  Harry  N.  Ray,  for  measurements,  tests  and  observations  bearing 
on  the  metal  work. 

In  New  York  also  where  my  studies  led  me,  are  a  number  to  whom  I  am 
much  indebted.  Mr.  George  G.  Heye  and  Mr.  Minor  C.  Keith  both  placed  their 
valuable  Chiriquian  (and  Costa  Rican)  collections  at  my  disposal,  as  did  also 
Mr.  Edwin  Lamson.  Dr.  Wm.  f.  Lamson,  the  Lenox  Branch  of  the  New  York  Public 
Library  through  Mr.  Wilberforce  Eames  and  Mr.  W.  A.  Elliot,  and  the  Metropolitan 
Museum  of  Art  through  Sir  Purdon  Clarke  and  Mr.  John  H.  Buck.  To  Professor 
M.  H.  Saville  of  Columbia  University.  I  am  likewise  under  obligations  for  access 
to  comparative  material  and  for  valuable  suggestions. 


VI  PREFACE. 

Although  the  late  Professor  Othniel  C.  Marsh  died  nearly  seven  years  before 
I  began  the  study  of  Chiriquian  antiquities,  it  was  his  foresight,  generosity  and 
consummate  skill  as  a  collector  that  brought  together  the  series  on  which  this 
volume  is  primarily  based.  Mention  in  this  place  of  the  part  he  played  is  but 
an  inadequate  expression  of  the  tribute  I  would  pay  to  his  memory.  In  the  reading 
of  copy  and  proofs  I  gratefully  acknowledge  the  valuable  assistance  of  Miss  Lucy 
P.  Bush,  for  sixteen  years  assistant  and  private  secretary  to  Professor  Marsh,  of 
Dr.  Katharine  J.  Bush,  and  Miss  Mary  S.  Gillette. 

In  thanking  Yale  University  and  the  Connecticut  Academy  of  Arts  and  Sciences, 
through  the  Committee  on  Publication  acting  on  behalf  of  both,  for  means  of 
diffusing  the  results  of  this  study,  it  is  most  fitting  that  I  should  recall  the  debt 
our  science  owes  to  the  American  Ethnological  Society,  which  published  nearly 
all  the  early  literature,  now  exeedingly  rare,  on  the  subject  of  Chiriquian  an- 
tiquities, and  which  at  that  time  numbered  among  its  members  such  distinguished 
Yale  professors  as  President  Theodore  Dwight  Woolsey,  Professors  Edward 
Elbridge  Salisbury  and  J.  Willard  Gibbs,  the  elder  and  S.  Wells  Williams,  who 
later  became  professor  of  Chinese  at  Yale. 


YALE  UNIVERSITY,  NEW  HAVEN,  CONN., 
May  26,  1909. 


TABLE  OF  CONTENTS. 

P»ge 

PREFACE     .                          V 

LIST  OF  ILLUSTRATIONS                                                                                                       .  IX 

INTRODUCTION .                 1 

History          ..............  1 

Cemeteries  and  tombs 8 

Human  remains           .............  14 

People          ...                 14 

COLLECTIONS .                          .         .  19 

STONE , 21 

Arrow-points 21 

Spear-points 22 

Celts 22 

Polishing  stones 26 

Metates 26 

Rubbing  or  hand  stones     .         .         . 33 

Stools 35 

Images 36 

Ornaments 39 

Petroglyphs 43 

POTTERY 45 

Classification        ..............  46 

(For  revised  classification,  see  page  65) 

Unpainted  ware 47 

Armadillo  group  (armadillo  motive,  p.  56) 48 

Salmon-colored  sub-group 71 

Black  incised  or  serpent  group 72 

Handled  group,  unpainted 73 

Painted  ware 75 

Handled  group,  painted .76 

Tripod  or  Fish  group 80 

Red  Line  group 92 

Chocolate  incised  group 95 

Scarified  group 96 

Maroon  group 100 

White  Line  group           .         .                  102 

Lost  Color  group 103 

Alligator  group 125 

Polychrome  group 151 

Various  objects  of  clay 161 

Stools 161 

Spindle-whorls  and  stamps 163 

Needle-cases 164 

Figurines 165 

Musical  instruments  169 


CONTENTS. 

Page 

Rattles        .         .  -169 

Drums          .         .  -169 

Wind  instruments      ...  .169 

METAL        ...  -189 

Alloys  of  gold  and  copper         .  .194 

Casting         ...  -194 

Articles  of  use    .         .  •     197 
Ornaments  . 
Figurines  of  animals  . 

Human  figurines           .  .210 
Figurines  with  mixed  attributes 

Masks ....  ....     223 

Plaques        .  •     224 

CONCLUSIONS  ....  .227 

BIBLIOGRAPHY         ....  .235 

INDEX  239 


LIST  OF  ILLUSTRATIONS. 

MAP.  P»Re 

The  Province  of  Chiriqui.      .......  To  face  page       18 

PLATES. 
(Its  own  list  to  be  found  facing  each  Plate.) 

TEXT-FIGURES. 
Figures  1—3. — Arrow-points.     '/•  .  .  .  .  .  .  .  .21 

Figures  4,  5. — Spear-points.     */•  .  .  .  .  .  .  .  .       22 

Figure  6. — Cylindrical  celt  with  thick  blunt  pole.    '/>    .  .  .  .  .  .24 

Figure  7. — Large  polished  celt  with  pointed  chipped  pole;  from  Gualaca.     '/>   .  .       24 

Figure  8. — Diminutive  triangular  celt  with  chipped  pole.     '/•  ....      24 

Figure  9. — Octagonal  celt  with  polished  and  faceted  blade  and  chipped  pole.     */•        .       25 
Figure  10. — Polished  hexagonal  chisel  with  chipped  base.     'I'  .  .  .25 

Figure  11. — Polished  cylindrical  celt  with  distinct  shoulder.     1'       .  .  .  .25 

Figure  12. — Polished  and  chipped  chisel.     */«      .  .  .  .  .  .  .25 

Figure  13. — Grooved  celt.     *l'  .........      26 

Figures  14,  15. — Jasper  polishing  stones.     '/«  .  .  .  .  .26 

Figure  16. — Chalcedony  polishing  stone.     '/'         .  .  .  .  .  .  .26 

Figure  17.— Metate  with  three  legs,  and  hand  stone.     '/•  .  .  .  .27 

Figure  18. — Three-legged  metate  of  the  Nicoyan  type;  from  Gualaca.     "•  .  .       28 

Figure  19.— Prototype  of  Chiriquian  metate.     '/•  .  .  .  .  .28 

Figure  20. — Metate  with  openings  in  the  hollow  stand ;  from  Vivala.     '''  .  .       28 

Figure  21. — Metate    with    base    open   at    the    ends,    the    sides    being   decorated    with 

incised  panels.     '/»  .  .  .  .  .  .  .  .  .29 

Figure  22. — Modern  wooden  seat  used  by  the  Indians  of  Chiriqui.     ''»    . .  .  .       29 

Figure  23. — Metate  of  the  four-legged  type,  ornamented  with  ten  animal  heads  attached 

to  the  margin  of  the  plate.     '/•     .  .  .  .  .  .  .  .29 

Figure  24. — Metate  representing  anterior  half  of  two  animals.       '/•  ...       30 

Figure  25. — Metate  representing  a  single  zoomorphic  unit.     '/>  .  .  .30 

Figure  26. — Jaguar  metate  with  rectangular  top.     '/»     .  .  .  .  .  .30 

Figure  27. — Jaguar  metate  the  legs  of  which  are  decorated  with  stars  in  champleve.  '/•       31 
Figure  28. — Jaguar  metate  with  guilloche  ornamentation.     '/«  .  .  .  .31 

Figure  29.— Metate  with  animal  head  at  each  end.     '<«  .  .  .  .  .32 

Figure  30. — Small  crudely  shaped  metate  with  rectangular  plate.     'I*  .  .       33 

Figure  31. — Rectangular  rubbing  stone.     'I'  .......       34 

Figure  32.— Pestle.     '/• 34 

Figure  33. — Sub-spherical  pestle  streaked  with  gold.     '''  .  .  .  .34 

Figure  34.— Image  representing  crude  animal  form.     '/•  .  .  .  .  .37 

Figure  35. — Small  image  of  a  quadruped.     '/•  .  .  .  .  .  .37 

Figure  36. — Image   seated   on   cylindrical   pestle ;   may   represent  man  or  monkey.     '/•       37 
Figure  37. — Large    crude    human    image    with    "  skil "    ornament    on   the    head ;    from 

Bugavita.     '/•._.  .  .  .  .  .  .  .  .  .37 

Figure  38. — Crude  human  image ;  from  Bugavita.     ''•  .....       37 

Figure  39. — Rough  statue  in  standing  posture;  from  San  Carlos.     '/»  .  .       38 

MEMOIRS  CONN.  ACAD.,  Vol.  III.  n 


X  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

Page 

Figure  40.— Large   statue   of  a  female— the   so-called  Panama  Venus;   a,  front   view; 

b,  profile  view.    V«     .....  .39 

Figures  41,  42.—  Highly  polished  agate  beads.     '/•       .  .       40 

Figure  43.— Green  jasper  bead.     '/«  .  •       40 

Figure  44. — Small  agate  pendant.     '/>  .       40 

Figure  45.— Highly  polished  amulet  of  pale  green  jade.     '/•    .  .       40 

Figure  46.— Large  translucent  amulet  of  jade ;  from  Miravalles,  Costa  Rica.     '/«  .       40 

Figure  47.— Small  celt-shaped  amulet.     (Lamson  collection.)     '/>       .  .       41 

Figure  48.— Ornithomorphic  celt-shaped  amulet  of  jade.     '/•  .       41 

Figure  49.— Ornithomorphic  amulet  of  green  translucent  jade.     'A  .  .       42 

Figure  50.— Zoomorphic  amulet  of  agate.     '/•.....  .42 

Figure  51. — Amulet  made  from  a  shark's  tooth;  from  Divala.     (Lamson  collection).     'A       42 
Figure  52. — Southwest    face    of    the    piedra    pintal    or     pictured     rock    at    Caldera. 

(After  Holmes.)          ....  .  .43 

Figure  53.— Northeast  face    ot   the   piedra  pintal,   from    a   water-color  drawing   made 

by  Gentil .43 

Figure  54.— Tracing  of  a  petroglyph.     (After  Bateman.)          .  .  44 

Figure  55. — Primitive  rectangular  bowl ;  from  El  Banco.     Armadillo  ware.     '/>  .       49 

Figure  56.— Primitive  elongated  bowl  with  small  handle;  from  Divala.  Armadillo  ware.    '/>       49 
Figure  57.— Calabash    type    of    cup    with    diminutive    handle;    from    near    Bugavita. 

Armadillo  ware.     'I*  .........       49 

Figure  58. — Hemispherical  bowl  with  spoutlike  projection  of  rim ;  from  near  Bugavita. 

Armadillo  ware.     '/«....  .49 

Figure  59.— Calabash  type  of  bowl   with  no   projection   of  rim.     Armadillo  ware.     '/>       49 
Figure  60. — Tripod  bowl  with  plain  hollow  supports.     Armadillo  ware.     '/>  .       50 

Figure  61. — Tripod  bowl  with  plain  hollow  supports,  apparently  inflated.  Armadillo  ware.  'A       50 
Figure  62. — Tripod  with  zoomorphic  supports.     Armadillo  ware.     '/>          .  .       52 

Figure  63.— Tripod  bowl;  from  Bugavita.     Armadillo  ware.     '/>  .  .  .       52 

Figure  64.— Tripod  with  froglike  supports ;  from  Bugavita.     Armadillo  ware.     '/>  .       52 

Figure  65.— Tripod  of  classic  form,  with  froglike  supports,   and  rim  ornamented  with 

armadillos.     Armadillo  ware.     '/>....  .52 

Figure  66.— Tripod  bowl  of  superior  modeling,  supported  by  three  grotesque  apelike 

heads ;  from  near  Bugavita.     Armadillo  ware.     V«  .  .  .  .       53 

Figure  67. — Tripod  representing  a  primitive  zoomorphic  type.     Armadillo  ware.     '/*     .       53 
Figure  68.— Vessel  of  zoomorphic  type,  with  four  legs ;  from  Divala.    Armadillo  ware.    V>       54 
Figure  69.— Tripod    bowl    showing   sculptor's    use    of  shadows  in  modeling  the   eye; 

from  Bugavita.     Armadillo  ware.     'I1       ......  54 

Figure  70.— Tripod   bowl    exhibiting   further   use    of  shadows    in    modeling    the    eye. 

Armadillo  ware.     'A  ......  .54 

Figure  71. — Tripod  bowl  with  solid  fishlike  supports.     Armadillo  ware.     V»         .  .       55 

Figure  72. — Bowl  with  annular  base;  from  El  Banco.     Armadillo  ware.     '"  .       55 

Figure  73.— Goblet-shaped  vessel;  from  Bugavita.     Armadillo  ware.     '/»  .  .       55 

Figure  74. — Bowl  supported  by  annular  base  and  human  figures.     Armadillo  ware.     'A       55 
Figure  75. — Bowl  supported  by  three  realistic  armadillos.     Armadillo  ware.     'A  .       58 

Figure  76.— Bowl  with  similar  tripod  supports,  the  extremities  of  the  armadillo  being 

reduced  to  feet  only.     Armadillo  ware.     ''•  .  .  .  .58 

Figure  77. — Tripod  bowl  in  which  the  hindlegs  and  feet  of  the  armadillo  are  elimi- 
nated from  the  supports ;  from  Escaria.     Armadillo  ware.     'A  .  .       58 
Figure  78. — Tripod,  the  supports  of  which  are  ornamented  with  carapace  motives  only ; 

from  Escaria.     Armadillo  ware.     V«  .  .       58 


LIST  OF  ILLUSTRATIONS.  XI 

Page 

Figure  79.— Vase  with  shoulder  ornament,  in  which  the  carapace  motive  is  present  on 

ventral  surface  only ;  from  Vivala.  Armadillo  ware.  '/>  .  .  .  .59 

Figure  80.— Vase  with  shoulder  ornament  showing  but  two  divisions  of  the  ventrally 

placed  carapace.     Armadillo  ware.     ''«  ......       59 

Figure  81.— Vase  with  shoulder  ornament  and  only  one  division  of  the  ventrally  placed 

carapace.     Armadillo  ware.     '/>     .  .  .  .  .  .  .  .59 

Figure  82.— Cup  with  shoulder  ornament,  on  which  an  unbroken  band  represents  the 

ventrally  placed  carapace  motive.  Armadillo  ware.  '/«  .  .  .  .59 

Figure  83.— Tripod  vase  with  shoulder  ornament,  to  which  carapace  motives  are  applied 

both  dorsally  and  ventrally.  Armadillo  ware.  '/>  .  .  .  .60 

Figure  84.— Large  vase  with  armadillo  shoulder  ornaments,  from  which  the  carapace 

motive  is  absent.     Armadillo  ware.     '/«  ......       60 

Figure  85.— Neck  of  vase  ornamented  with  the  tail  motive.  Armadillo  ware.  '/»  .  61 
Figure  86.— Another  example  of  the  tail  motive.  Armadillo  ware.  '/•  .  .  61 

Figure  87.— Neck  of  vase  ornamented  with  alternating  groups  of  tail-  and  eye-motives ; 

from  Vivala.    Armadillo  ware.     '/'.......       61 

Figure  88.— Neck  of  vase  decorated  with  tail  motive  in  meander,  and  an  eye  symbol 

in  each  angle.     Armadillo  ware,     'i'      .  .  .  .  .  .  .61 

Figure  89. — Neck  and  shoulder  ornament  of  a  vase  proving  the  identity  of  the  cara- 
pace motive.     Armadillo  ware.     */•         .  .  .  .  .  .  .62 

Figure  90. — Meander  of  carapace  symbols  accompanied  by  foot  symbols.  Armadillo  ware.  '/«  62 
Figure  91.— Double  neck  of  vase,  ornamented  with  carapace-  and  eye-symbols. 

Armadillo  ware.     '/>  .  .  .  .  .  .  .  .  .62 

Figure  92.— Neck  of  vase  showing  foot- and  eye-symbols  in  alternation.  Armadillo  ware.  '/•  63 
Figure  93.— Vase,  the  single  handle  of  which  is  ornamented  with  carapace  motives. 

Armadillo  ware.    '/'  .........       63 

Figure  94. — Vase  with  two  undecorated  handles.  Armadillo  ware.  '/•  •  .  63 

Figure  95. — Vase  with  single  handle  forming  an  arch  over  the  aperture.  Armadillo 

ware.     'I*          ...........      65 

Figure  96. — Cup  with  single  shoulder  ornament  representing  the  armadillo.  Armadillo 

ware.     '/»...........       65 

Figure  97. — Cup  with  single  flat  handle  showing  possibly  a  conventionalized  form  of 

the  armadillo ;  from  Divala.  Armadillo  ware.  V»  .  .  .  .65 

Figure  98. — Vase  with  shoulder  ornaments  representing  the  frog,  probably  the  Surinam 

Toad  (Pipa  americana).  Armadillo  ware.  '/>  .  .  .  .  .66 

Figure  99. — Vase  with  frog  shoulder  ornaments;  from  Vivala  (not  Divala).  Armadillo  ware  '/»  67 
Figure  100.— Frog  illustrating  the  ceramic  type  of  technique.  Armadillo  ware.  '/>  .  67 
Figure  101. — Vase  with  shoulder  ornaments  representing  a  frog  in  the  tadpole  stage. 

Armadillo  ware.     V»  .........       68 

Figure  102.— Vase  with  zoomorphic  shoulder  ornaments.  Armadillo  ware.  ^  .  .  68 

Figure  103.— Vase  with  grotesque  zoomorphic  shoulder  ornament;  from  Bugavita. 

Armadillo  ware.    '/»  .........      68 

Figure  104. — Fantastic  zoomorphic  shoulder  decoration.  Armadillo  ware.  '/>  .  .  68 

Figure  105. —Unique  flat-bottomed  vase;  from  Bugavita.  Armadillo  ware.  '/»  .  .  69 

Figure  106. — Vase  with  handles  represented  by  the  human  figure.  Armadillo  ware.  '/«  69 
Figure  107. — Small  vase  with  anthropomorphic  shoulder  ornaments ;  neck  decorated 

with  carapace  meander  combined  with  foot  symbols.  Armadillo  ware.  'I*  .  69 
Figure  108. — Cup  with  zoomorphic  handle  decoration.  Armadillo  ware.  '/'  .  .  70 

Figure  109. — Cup  with  decoration  on  handle  probably  representing  a  human  head. 

Armadillo  ware.     '/•  70 


XII  A  STUDY  OF  CHIRIQUIAN   ANTIQUITIES. 

Page 

Figure  110.— Example  of  anthropomorphic  handle  decoration.     Armadillo  ware.     '/•     .       70 

Figure  11 1.— Cup  with  grotesque  human  figure  serving  as  handle.     Armadillo  ware.    3/'       70 

Figure  112. — Another  treatment  of  the  same  motive,  the  nose  being  developed  into 

a  proboscis.  Armadillo  ware.  '/'.......  70 

Figure  113. — Cup  with  handle  decoration  suggesting  the  human  form  with  nose 

developed  into  a  proboscis.  Armadillo  ware.  '!•  .70 

Figure  114.— Cup  with  human  effigy  for  handle.     Armadillo  ware.     '/•  .  .71 

Figure  115. — Cup  with  froglike  figure  serving  as  handle.     Armadillo  ware.     '/•  .       71 

Figure  116;  a. — Vase  decorated  with  parallel  zigzag  incised  lines.  ''",  b. — Detail  of  in- 
cised pattern  decorating  the  bottom  of  the  vase  shown  in  figure  a.  Serpent 
ware.  '/«  ...........  72 

Figure  117.— Small  vase  with  shoulder  decoration  consisting  of  a  triangular  treatment 

of  the  serpent  motive.  Serpent  ware.  ''•  .  .  .  .  .  .73 

Figure  118.— Tripod  bowl  with  supports  representing  a  fish;  from  Divala.  Serpent  ware.  Vt       73 

Figure  119.— Vase  bearing  life  symbols  on  handles  and  incised  X-shaped  ornamen- 
tations on  shoulder.  Unpainted  handled  ware.  '/»  .  74 

Figure  120.— Vase  with  horizontally  placed  handles  representing  animal  forms.  Un- 
painted handled  ware.  '/»  ......  .74 

Figure  121. — Vase  with  carapace  symbol  ornamenting  base  of  handles.  Painted 

handled  ware.  'I'  ........  .77 

Figure  122. — Vase  whose  handle  decorations  represent  either  fin  or  carapace  motives. 

Painted  handled  ware.  ''•  ........  77 

Figure  123. — Vase  with  same  life  form  on  handles  as  in  preceding  example ;  from  Jacu. 
Painted  handled  ware.  '/•  ....... 

Figure  124. — Vase  with  carapace  symbol  decorating  the  handles.  Painted  handled  ware.  ''"       78 

Figure  125. — Vase  with  twisted  handles  composed  of  two  strands ;  from  Divala.  Painted 

handled  ware.  '/«  .  .  .  .  .  .  .  78 

Figure  126. — Detail  of  shoulder  ornamentation  on  vase  shown  in  Plate  XXI,  figure  h. 

Painted  handled  ware.  ''•  ......  .78 

Figure  127.— Vase  with  life  forms,  probably  human,  serving  as  handles.  Painted 

handled  ware.  '/«  .  .  .  .  .  .  .  .  .78 

Figure  128. — Vase  with  single  handle  spanning  the  aperture.    Painted  handled  ware.     'I'       79 

Figure  129.— Vase  with  grotesque  forms  serving  as  handles;  from  Caklera.  Painted 

handled  ware.  '/>  .  .  .  .  .  .  .  .  .  .79 

Figure  130. — Vase  with  plastic  decoration  suggesting  the  carapace  motive  ;  from  Divala. 

Painted  handled  ware.  '/•  ........  79 

Figure  131.— Vase  with  well-developed  collar  but  without  handles;  fromVivala.  Painted 

handled  ware.  '/• .80 

Figure  132. — Vase  without  handles.     Painted  handled  ware.     '/»  .  .  .80 

Figure  133. — Tripod  with  long  solid  supports  and  with  fillets  applied  obliquely  to  the 

handles ;  from  Bugavita.  Fish  ware.  *'•  .81 

Figure  134.— Tripod  with  twisted  handles  and  with  supports  resembling  the  body  of 

a  fish.  Fish  ware.  'i>  .........  81 

Figure  135.— Tripod,  the  legs  of  which  are  realistic  representations  of  the  fish.  The 

half-human  monsters  serving  as  handles  may  represent  the  Jaguar-god.  Fish  ware.  '/>  82 

Figure  136. — Tripod  with  plain  handles  and  fishlike  supports.     Fish  ware.     '/«  .       82 

Figure  137. — Tripod  with  twisted  handles  and  supports  in  which  the  anal  tins  are 

present.  Fish  ware.  '/•  .  .  .  .  .  .  .  .83 

Figure  138. — Tripod  in  which  the  dorsal  fin  appears  as  a  lump  on  the  nose  of  the  fish. 

Fish  ware.  '/•  83 


LIST  OK  ILLUSTRATIONS.  XIII 

Page 

Figure  139. — Tripod  with  gracefully  modeled  supports  representing  the  fish.  Fish  ware.  '/>       84 
Figure  140.— Typical   example  of  handled   ware   with   legs,  the.  latter   exhibiting  pec- 
toral fins  only.     Fish  ware.     'I'  .  .  .  .  .  .  .84 

Figure  141. — Tripod  support,  the  only  ornamentation  being  a  single  dorsal  fin.     Fish 

ware.     '/>         ...........       85 

Figure  142. — Tripod,  in  which  the  supports  embody  a  fusion  of  the  fish  and  the  human 

form.     Fish  ware.     *l*  .........       87 

Figure  143. — Tripod,  in  which   the  supports   combine  the  fish  with  the  head  and  feet 

of  the  owl.     Fish  ware.     '/>  ....       87 

Figure  144. — Tripod,  in  which  the  legs  combine   characters  of  the  fish  with  those  of 

some  carnivorous  animal.     Fish  ware.     '/»  .  .  .  .  .88 

Figure   145. — Ornate  tripod  with  twisted  handles  representing  animal  forms.   Fish  ware.  ''-       88 
Figure  146. — Tripod,  in  which  the  supports  are  modified  to  represent  the  human  form. 

Fish  ware.     '/»  .  89 

Figure   147. — Tripod  with  supports  representing  the  human  form.     Fish  ware.     '/J         .       89 
Figure  148.— Tripod  support  representing  the  human  form.     Fish  ware.     V>         .  .       90 

Figure  149. — Similar  example  from  another  tripod.     Fish  ware.     '/»...       90 
Figure  150.— Tripod  support  exhibiting  similar  technique ;  but  the  head  of  the  figure  is 

scarcely  human.     Fish  ware.     '/«  .......       90 

Figure  151. — Tripod,  the  shallow  bowl  of  which  is  decorated  with  crab-  and  fin-motives; 

from  El  Banco.    Fish  ware.     'I*     ......  .91 

Figure  152. —Vase  with  annular  base;  from  El  Banco.     Fish  ware.     '/•      .  .       91 

Figure  153.— Tripod  with  elongated  shallow  bowl,   and  handles  suggesting  life  forms; 

from  Bugavita.     Fish  ware.     ll>     ......  .91 

Figure  154. —Another  tripod  similar  in  type,  unpainted ;  from  Bugavita.    Fish  ware.    '/>       91 
Figure  155.— Tripod  embodying  animal  forms  in  the  supports;  from  Caldera.    Probably 

of  Costa  Rican  origin.     '/»  .....  92 

Figure  156.  —Tripod  with  short  looplike  supports ;  from  El  Banco.     Red  line  ware.     V»       93 
Figure  157. — Bowl  with  low  annular  base ;  from  Gualaca.     Red  line  ware.     '/>  .       94 

Figure  158.— Bowl  with  perforated  annular  base.     Red  line  ware.     '/«  .  .       94 

Figure  159.— Shallow  bowl  with  perforated  annular  bell-shaped  base;  from  El  Banco. 

Red  line  ware.     '/«...  .94 

Figure  160.— Globular  vase.     Red   line  ware.     '/«  •       94 

Figure  161.— Tripod  vase  with  incised  shoulder  and  short  hollow  supports  supplied  with 

pellets  but  not  slit;  from  Divala.     Chocolate  incised  ware.     '/•     .  .       95 

Figure  162.— Tripod  with  incised  panels  on  shoulder  and  short  supports  representing 

animal  heads;  from  Divala.     Chocolate  incised  ware.     V»  .       96 

Figure  163.— Very  small  tripod   with   unbroken   incised   pattern  around  shoulder,   and 

short  solid  supports.     Chocolate  incised  ware.     ''.      .  .  .       96 

Figure  164.— Non-scarified  vase  with  handles  crudely  representing  animal  forms;  from 

Caldera.     Scarified  ware.     V»  •       96 

Figure  165.— Tripod  bowl  with  handles  and  supports  resembling  head,  wings  and  tail 

of  a  bird ;  from  Caldera.     Scarified  ware.     '/«  97 

Figure  166.— Non-scarified    tripod,     heart-shaped     in     horizontal     section.       Scarified 

ware.    '/«.....  97 

Figure  167.— Tripod  in  which  shoulder  ornaments  and  supports  represent  the  head  and 

arms,    and    the    legs    respectively    of    the    human    figure;    from    El    Banco. 

Scarified  ware.     ''» 
Figure  168.— Open-mouthed   bowl    with    three   short   supports    placed    close    together. 

Scarified  ware.     ''»  .........       98 


XIV  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

Page 

Figure  169.— Boat-shaped  tripod  with  rim  extended  to  a  point  at  the  ends,  each  point 

being  accompanied  by  two  nodes.  Scarified  ware.  V»  .  .  .99 

Figure  170.— Vase  with  loop  handles  strongly  resembling  that  shown  in  figure  164; 

from  Caldera.  Maroon  ware.  '/>....  .100 

Figure  171.— Vase  ornamented  with  scarifications  alternating  with  pairs  of  vertical 

punctated  ribs.  Maroon  ware.  '/>....  .  100 

Figure  172.— Small  tripod  completely  encircled  by  a  series  of  plain  vertical  ribs ; 

from  El  Banco.     Maroon  ware.     'I*         .......     101 

Figure  173.— Bowl  with  ornamentation  in  relief ;  from  Vivala  (not  Divala).  Maroonware.  V>  101 
Figure  174. — Open-mouthed  bowl  with  annular  base  and  animal  features  in  high  relief; 

from  near  David.     Maroon  ware.     'I*      .......     101 

Figure  175. — Vase  with  single  handle,  opposite  which  is  a  relief  ornament  consisting 

of  a  pair  of  eyes,  prominent  eyebrows  and  a  nose ;  from  Gualaca ;   Maroon 

ware.  '/«  . 101 

Figure  176.— Vase  decorated  with  the  alligator  dorsal-view  motive  in  white.  White 

line  ware.     '/>  ..........     102 

Figure  177. — Tripod,  the  shoulder  of  which  is  decorated  with  the  dorsal- view  alligator 

motive  in  white.     White  line  ware.     '/>  ......     102 

Figure  178;  a. — Small  tripod  with  shoulder  ornamentation  suggestive  of  hieroglyphics, 

and  legs  representing  animal  forms ;  from  Bugavita.     '/» ;  b. — Detail  of  shoulder 

ornamentation.     White  line  ware.     '/'     .  .  .  .  .  .  .102 

Figure  179. — Narrow-necked  vase  broken  in  plane  of  greatest  diameter,  illustrating 

carelessness  in  finish  of  interior;  from  Divala.  Lost  color  ware.  '/»  .  .  104 

Figure  180. — Vase  in  red  and  black  with  large  aperture,  and  two  arched  panels  on 

shoulder.    Lost  color  ware.     '/>  .......     106 

Figure  181. — Vase  in  red  and  black  with  narrow  aperture,  showing  life  forms  in  low 

relief  alternating  with  two  panel  decorations ;  from  Bugavita.  Lost  color  ware.  '/'  110 
Figure  182. — Vase  in  red,  light  cream  and  black,  the  three  panels  of  the  shoulder  zone 

being  decorated  with  alligator  motives.  Lost  color  ware.  V>  .  .110 

Figure  183. — Vase  in  red,  light  cream  and  black,  ornamented  with  bilaterally  sym- 
metrical figures  each  covering  about  half  of  the  upper  zone.  Lost  color  ware.  '/>  111 
Figure  184. — Vase,  in  which  the  peripheral  band  and  those  tangent  to  the  neck  are 

painted  white.     Lost  color  ware.     '/>  .  .  .  .  .  .113 

'Figure  185. — Vase,  in  which  the  peripheral  band  and  those  tangent  to  the  neck  are 

painted  white  and  are  crossed  by  the  lost  color  pattern.  Lost  color  ware.  '/>  113 
Figure  186.— Vase  ornamented  with  four  four-sided  panels.  Lost  color  ware.  '/>  .  114 
Figure  187. — Globular  vase  ornamented  with  a  design  suggesting  a  conventionalized 

alligator.     Lost  color  ware.     V»     .  .  .  .  .  .  .  .114 

Figure  188.— Globular  vase  decorated  with  the  spool-shaped  motive.   Lost  color  ware.  '/»     115 
Figure  189.— Wide-mouthed  vase.     Lost  color  ware.     '/>         .  .  .  .  .115 

Figure  190. — Small  vase  with  rosette-like  ornamentation.  Lost  color  ware.  '/'  .  115 

Figure  191.— Compound  vase  decorated  with  three  quadrangular  panels  in  each  story. 

Lost  color  ware.     '/2  .  .  .  .  .  .  .  .  .115 

Figure  192. — Vase  showing  unusual  disposition  of  read  and  light  colors  of  the  original 

ground.     Lost  color  ware.     '/«  .  .  .  .  .  .  .116 

Figure  193. — Unique  vase  with  large  long  neck  sourmounted  by  a  rectangular  lip,  and 

with  tuberosities  on  the  body.  Lost  color  ware.  '/»  .  .  .  .116 

Figure  194. — Small  vase  with  radiate  ornamentation.  Lost  color  ware.  J/J  .  .  118 

Figure  195. — Small  vase  with  radiate  ornamentation,  the  elements  of  which  may  be 

traced  to  an  alligator  motive.     Lost  color  ware.     'I'  .  .  .  .118 


LIST  OF  ILLUSTRATIONS.  XV 

Page 

Figure  196. — Vase  in  pale  yellow  and  black,  with  zonal  decoration ;  from  Divala.     Lost 

color  ware.  '/«  .  .  .  .  .  .  .  .  .  .118 

Figure  197. — Vase  in  light  cream  and  black,  decorated  with  vertical  panels  each  en- 
closing a  faulted  meander.     Lost  color  ware.     */»  .  .  .  .118 

Figure  198.— Small  vase  decorated  with  parallel  coiled  bands;  from  Vivala  (not  Divala). 

Lost  color  ware.     */«  .        -  .  .  .  .  .  .  .  .119 

Figure  199. — Vase  with  handles  and  with  frondlike  ornamentation.  Lost  color  ware.  '/»  119 
Figure  200. — Vase  with  primitive  human  figures  as  shoulder  ornaments.  Lost  color  ware.  V«  120 
Figure  201. — Very  small  vase  with  relief  figures  on  shoulder  representing  the  human 

head  and  arms.     Lost  color  ware.     !/»     .  .  .  .  .  .  .     120 

Figure  202.— Vase  ornamented  with  bird's  head  and  tail  in  relief,  the  latter  resembling 

a  horizontal  loop  handle.  Lost  color  ware.  '/>.....  121 
Figure  203. — Vase  with  vertical  handle,  opposite  which  is  a  figure  with  human  body  and 

the  beak  of  a  bird,  presumably  the  parrot-god ;  from  Divala.  Lost  color  ware.  */'  121 
Figure  204.— Small  double  vessel  with  single  arched  handle;  from  El  Banco.  Lost 

color  ware.     'I*          ..........     121 

Figure  205. — Double  vessel  with  two  outer  handles  and  a  single  short  arched  central 

handle.     Lost  color  ware.     */'........     121 

Figure  206. — Detail  showing  favorite  representation  of  alligator  in  profile.     '/>    .  .     126 

Figure  207.— Similar  treatment  of  the  alligator.     '/•  .  .  .  .  .126 

Figure  208. — Alligator  in  profile  with  in  verted  scale-group  motives  and  nuchal  appendage.  '/>  127 
Figure  209. — Detail  showing  fusion  of  two  alligators  in  profile.  '/»  ...  127 

Figure  210.— Alligator  profile  showing  exaggeration  of  jaws  and  nuchal  appendage.  *'»  128 
Figure  211. — Alligator  profile  adapted  to  fit  the  space  at  hand.  '/•...  128 
Figure  212. — Profile  of  alligator  with  head  turned  backward,  the  long  lower  jaw  being 

balanced  by  the  well  developed  nuchal  appendage.  */>  .  .  .  .  129 

Figure  213. — Profile  of  alligator  in  which  only  the  head  and  nuchal  crest  remain 

prominent.     */»  .  .  .  .  .  .  .  .  .  .129 

Figure  214.— Well-balanced  but  angular  and  stylistic  representation  of  the  alligator.  */•  130 
Figure  215. — Highly  conventionalized  two-headed  alligator.  */>  .  .  .  130 

Figure  216.— Double-headed  alligator  with  nuchal  crest  on  the  head  at  the  left.  '/>  130 
Figure  217. — Two-headed  alligator  showing  transposition  of  parts,  both  nuchal  crests 

being  attached  to  the  same  neck.     !/>     .  .  .  .  .  .  .     130 

Figure  218. — Two-headed  alligator  with  nuchal  crests  absent.     '/>  ...     130 

Figure  219«— d. — Series  of  motives,  each  representing  the  double-headed  alligator.     '/«     131 
Figure  220. — Multiple  alligator  motive.     '/»  ........     131 

Figure  221.— Simplified  multiple  alligator  motive.     V»  .....     131 

Figure  222. — Detail  probably  representing  two  body-lines,  each  with  a  single  scale  symbol.  '/»     131 
Figure  223. — Sigmoid  scroll  representing  two  body-curves.     '/«  .  .  .     131 

Figure  224.— Conventionalized  alligator  in  profile;  hieroglyphic  stage.     'I'  .  .     131 

Figure  225.— Wholesale  reduction  and  simplification  of  the  alligator  in  profile.     '/«       .     131 
Figure  226a— c. — Conventionalized  alligator  designs.     '/«  .  .  .  .  .133 

Figure  227. — Vase,  whose  shoulder  zone  includes  six  arched  panels  filled  with  scale 

symbols;  from  Divala.     Alligator  ware.     '/»     .  .  .  .  .  .133 

Figure  228. — Vase,  whose  three  arched  panels  are  associated  with  scale  motives. 

Alligator  ware.     '/»  .........     133 

Figure  229. — Vase  having  but  two  arched  panels,  in  which  scale-  and  spine-motives 

are  grouped ;  from  Divala.  Alligator  ware.  '/«  .  .  .  .134 

Figure  230. —  Double-necked  vase  with  the  dorsal-view  motive  as  a  panel  decoration; 

from  Bugavita.     Alligator  ware.     1*       .  .  .  .  .  .  .134 


XVI  A  STUDY  OF  CHIKIQU1AN   ANTIQUITIES. 

Page 

Figure  231.— Vase,  in  which  the  dorsal-view  motive  alternates  with  quadrangular  panels. 

Alligator  ware.     '!>...  .135 

Figure  232.— Vase  with  alligator  motives  on  lip  and  shoulder.  Alligator  ware.  'I'  .  135 
Figure  233.— Vase  in  which  the  alligator  motives  are  obscure.  Alligator  ware.  '/'  135 
Figure  234.— Vase  with  obscure  alligator  motives  on  lip  and  shoulder.  Alligator  ware.  ''•  135 
Figure  235.— Vase  with  alligator  motives  on  lip,  and  with  multiple  body-line  as  a  panel 

decoration.     Alligator  ware.     '/>  .  .     136 

Figure  236.— Vase  with  simple,  body-line  motives  on  shoulder  and  lip.    Alligator  ware.  2/»     130 
Figure  237.— Vase  with  shoulder  panels  showing  obscure  multiple  body-line,  accompan- 
ied by  body-markings.     Alligator  ware.     '/«  ...  .     137 
Figure  238.— Vase  with  small  vertical  loop-handles  and  the  alligator  motive  as  a  shoulder 

decoration.     Alligator  ware.     '/>  .  .137 

Figure  239.— Vase  without  neck,  the  relief  ornaments  being  two  opposed  animal  heads. 

Alligator  ware.     V« 
Figure  240. — Neckless  vase  with   dorsal-view   alligator  motive  as  a  panel  decoration. 

Alligator  ware.     '/•  .  .  .138 

Figure  241  a,  b. — Designs  representing  conventionalized  alligators.     ''*       .  .     140 

Figure  242.— Elaborate  vase  supported  by  human  figures;   end  view  (see  Plate  XLII, 

fig.  c).     Alligator  ware.     '/»...  .     142 

Figure  243. —One  of  the  alligator  figures  decorating  the  neck  of  the  preceding  vase.  '/»  142 
Figure  244 a,  6.— Jaguar-god  ornamented  with  alligator  motives  and  serving  both  as 

rattle  and  receptacle.     Alligator  ware.     '''       .  .     143 

Figure  245.— Zoomorphic  vessel  representing  the  tapir  and  ornamented  with  alligator 

motives.     Alligator  ware.     '/»....  .145 

Figure  246. — Globular   vessel   representing   a   bird,   a  low  annular  support  taking  the 

place  of  feet ;  from  Vivala  (not  Divala).     Alligator  ware.     'I'  .  .     146 

Figure  247.— Ornithomorphic    vessel    decorated   with   scale-group    and    spine    motives. 

Alligator  ware.     '/«....  .     146 

Figure  248.— Bird  form  with  realistic  removable  head.     Alligator  ware.     '/»  .     147 

Figure  249;  a.— Elaborate    bird    form    with    removable    head,    and    ornamented    with 

dorsal-view    motives.     Alligator    ware.      'I';    b.  —  Diagram    showing    mode    of 

stringing  neck  and  body  for  suspension.          ...  .     148 

Figure  250a,  b.— Vase  showing  elaborate  and  highly  conventionalized  use  of  alligator 

motive ;  from  Divala.     Alligator  ware.     V«  •     149 

Figure  251.— Vase  with  problematical  decoration.     Alligator  ware.     '/>      .  .  .     150 

Figure  252.— Vase  combining  features  of  alligator  and  lost  color  groups,  the  dorsal- 
view  motive  occurring  on  the  peripheral  band  and  those  tangent  to  the  neck. 

Alligator  ware.     '/>    .  .  .  .  .  .  .  .  .  .150 

Figure  253.— Sigmoid  scroll   in  which  the  alligator  motive  appears  as  simply  cut  out 

the  black  band  where  it  is  broadest  (see  Plate  XLIV,  fig.  a).     '/•          .  .152 

Figure  254. — Branching  scroll   in   which   two    of  the   alligator   motives    (notches)    are 

partially  differentiated  (see  Plate  XLIV,  fig.  a).     '/'  .  .  .  .153 

Figure  255. — Vase  with   elaborate  branching  scroll   from   which  the  alligator  motives 

are    partially    detached   and   accompanied    by    dots   and    circles    representing 

body-markings.     Polychrome  ware.     ''•  .  .  .  .  .  .153 

Figure  256. — Unique    type    of   vase,    the    zonal    decorations    being    alligator    motives. 

Polychrome  ware.     '/>.........     155 

Figure  257. — The   largest   vase   in   the   collection,  unique  in  form  and  decorated  with 

alligator  motives.     Polychrome  ware.     '/•          .  .  .  .  .  .150 


LIST  OF  ILLUSTRATIONS.  XVII 

Page 

Figure  258.— Conventionalized  alligator  designs  illustrating  the  process  of  sparing  the 

pattern  out  of  the  field  (see  fig.  257).  ''• 157 

Figure  259.— Large  fine  clay  stool,  the  seat  supported  by  three  legs  alternating  with 

strange  half-human  forms.    Armadillo  ware.     '/•         .  .  .     163 

Figure  260. — Spindle-whorl  consisting  of  a  plain  perforated  disk.     ''•         .  .164 

Figure  261. — Spindle-whorl  decorated  with  heads  and  arms  in  relief.    '/»  .     164 

Figure  262.— Bell-shaped  stamp;  a,  side  view;  b,  view  of  lower  end.  Scarified  ware.    '/•     164 
Figure  263. — Needle-case.    Lost  color  ware.     '/>  ......     164 

Figure  264.— Needle-case ;  from  Divala.     Lost  color  ware.     '!•  .     164 

Figure  265. — Human  figurine  representing  mother  and  infant.     Alligator  ware.     '/>       .     165 
Figure  266.— Human  figurine.     Alligator  ware.     'I'        ......     165 

Figure  267 ;  a. — Seated  human  image  holding  a  shallow  bowl.  Alligator  ware.  *'« 

£.— Detail  of  double-headed  alligator  decorating  the  right  arm;  c,  a?.— Detail 

of  one  end  of  the  panel  decorating  the  legs.  '/•  .  .  .  .  166 

Figure  268.— Human  figure  seated  on  a  stool  or  metate.  Alligator  ware.  */»  .  .  167 

Figure  269. — Standing  masculine  figure;  from  Jacu.  Alligator  ware.  'I'  .  .  167 

Figure  270. —  Figurine  representing  the  armadillo;  a. — lateral-view;  b.— ventral-view.  '/>  168 
Figure  271. — Perforated  figurine  representing  the  peccary  (Dicotyles).  Alligator  ware.  '/>  168 
Figure  272.— Grotesque  figurine  representing  the  peccary.  Alligator  ware.  '/»  .  .  168 

Figure  273. — Gourd-shaped  rattle.  Lost  color  ware.  '/>...  .  169 

Figure  274.— Double  whistle.  '/• .170 

Figure  275.— Reed-shaped  whistle  decorated  with  alligator  motives.  Alligator  ware.  '/'  171 
Figure  276.— Top-shaped  whistle  with  two  finger-holes;  from  El  Banco.  '/'  .  .  172 

Figure  277.— Top-shaped  whistle  with  three  finger-holes.  Alligator  ware.  (After 

Holmes.)  '/. .172 

Figure  278  a,  b. — End  views  of  instrument  shown  in  preceding  figure.  (After  Holmes.)  172 
Figure  279. — Whistle  combining  drum  and  bird  form.  Alligator  ware.  '/•  •  173 

Figure  280.— Drum  whistle  surmounted  by  grotesque  biped  life  form.  Alligator  ware.  '/•  173 
Figure  281.— Drum  surmounted  by  half-human  figure  combined  with  serpent  and  bird 

forms.     Alligator  ware.     '/'  .  .  .  .  .  .  .  .174 

Figure  282. — Bird-shaped  whistle.     Alligator  ware.     '/'...  .     175 

Figure  283.— Bird-shaped  whistle  decorated  with  scale-group  symbols.  Alligator  ware.  'I'  175 
Figure  284.— Whistle  representing  an  owl.  Alligator  ware.  '/«  .  175 

Figure  285.— Owl-shaped  whistle  decorated  with  multiple  body-line  motive.  Alligator 

ware.     V«         ..........  i          .     175 

Figure  286.— Whistle  representing  a  crested  partridge.     Alligator  ware.     '/•        .  .     176 

Figure  287.— Bird-shaped  whistle;  from  Divala.     Alligator  ware.     '/•          .  .     176 

Figure  288.— Whistle  representing  a  duck.     Alligator  ware.     '/«  .     177 

Figure  289.— Whistle  representing  a  bird  in  the  act  of  alighting.     '/•  .  .     177 

Figure  290.— Simplified  bird  form  of  whistle.     Lost  color  ware.     '/•  .  .  .     177 

Figure  291. — Composite  bird  form  of  whistle.     Lost  color  ware.     *'•  .  .     177 

Figure  292.— Small  bird-shaped  whistle.     Lost  color  ware.     '/•          .  .  .  .177 

Figure  293.— Small  bird-shaped  whistle.     Lost  color  ware.     '''....     177 

Figure  294.— Whistle  representing  the  crab,  the  back  being  decorated  with  alligator 

motives.     Alligator  ware.     '/•.....  .178 

Figure  295. — Whistle  representing  a  crab.  Alligator  ware.  '/<  .  .  .178 

Figure  296. — Whistle  representing  a  round-bodied  crab.  Alligator  ware.  ''•  .  .  178 

Figure  297.— Whistle  representing  a  scorpion  with  alligator  motives  decorating  the 

sides.     Alligator  ware.     '/«  .....  .178 

Figure  298.— Whistle  in  the  form  of  a  coiled  snake.  Lost  color  ware.  */•  .  .  179 


XVIII  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

Page 

Figure  299. — Composite  form  consisting  of  the  iguana  and  snake,  the  sides  being  de- 
corated with  the  multiple  alligator  motive.     '/'          .  .  .  .  .179 

Figure  300. — Whistle  in  the  shape  of  a  quadruped.     Lost  color  ware.     '/•           .           .  180 
Figure  301.— Whistle,  in  which    the    head    has   the    appearance  of  being  removable. 

Lost  color  ware.     '!•            .........  180 

Figure  302.— Figurine  serving  as  both  whistle  and  rattle.     Armadillo  ware.     '/•             .  180 

Figure  303. — Whistle  representing  the  armadillo.     Alligator  ware.     '/•                   .           .  180 
Figure  304.— Whistle  representing  a  squirrel  feeding,  the  sides  being  decorated  with 

the  multiple  alligator  motive.     Alligator  ware.     '/'               ....  181 

Figure  305.— Whistle  representing  a  squirrel  in  motion;  the  alligator  motive  appears 

in  the  panels  decorating  the  sides.     Alligator  ware.     '/«                 .           .           .  181 
Figure  306. — Whistle  suggesting  the  ground-squirrel,  though  the  head  is  catlike.    Alli- 
gator ware.    '/«                    .           .           .           .           .          ..           .           .           .  181 

Figure  307.— Whistle  with  tapir-like  head.    Alligator  ware.     '/«                   .           .           .  182 

Figure  308. — Whistle  evidently  representing  the  young  of  Tapirus  bairdii.  Alligatorware.  '/'  182 
Figure  309.— Whistle  representing  a  species  of  tiger-cat,  the  head  also  serving  as  a 

rattle.     Alligator  ware.     '/«            ........  182 

Figure  310.— Whistle  representing  a  double-headed  jaguar,  both  necks  being  perforated, 

the  heads  serving  as  rattles.     Alligator  ware.     '/«      .  .  .  .  .183 

Figure  311.— Jaguar-shaped  whistle  with  ocellated  markings  of  the  jaguar.  Alligatorware.  'I'  184 

Figure  312. — Whistle  in  the  shape  of  a  deer.     Alligator  ware.     "'«             ...  184 

Figure  313.— Whistle  representing  a  deer  apparently  making  an  attack.  Alligatorware.3/'  184 

Figure  314.— Monkey-shaped  whistle  with  three  finger  holes.     '/•  -  .           .           .           .  184 

Figure  315.— Figurine   serving  as   a   whistle   and   representing   a  mythical   form   with 

mixed  attributes.     Alligator  ware.     '/•    .  .  .  .  .  .  .185 

Figure  316.— Figurine  serving  as  a  whistle.     The  pose  is  human,  the  right  arm  con- 
verted into  a  mouth-piece.     Alligator  ware.     '/<  .  .  .  .186 

Fjgure  317.— Whistle  presumably  representing  a  monkey,  although  the  pose  is  avian. 

Alligator  ware.     '/•  .  .  .  .  .  .  .  .  .186 

Figure  318.— Whistle  figurine  representing  a  three-headed  monster  with  human  attributes ; 

the  multiple  alligator  motive  encircles  the  body.     Alligator  ware.     ''•   .           .186 
Figure  319.— Whistle  representing  a  carefully  modeled  human  head.   Alligator  ware.   '/«  187 
Figure  320.— Whistle  representing  the  human  head.     Alligator  ware.     '/«             .           .  187 
Figure  321.— Diminutive  tripod  with  bird-shaped  whistle  attached  to  the  side.     Arma- 
dillo ware.     >u           ..........  187 

Figure  322.— Small  cup  with  false  whistle  attached  to  the  shoulder.     '/•  .           .           .  188 

Figure  323.— Figure  of  a  frog  carved  in  resin;  from  Divala.     Lamson  collection.        '/•  195 

Figure  324.— Illustration  showing  primitive  process  of  casting  gold  images.  (After  de  Bry.)  196 

Figure  325.— Needle  of  nearly  pure  copper.     '/>             ......  197 

Figure  326.— Copper  tweezers  perforated  for  suspension.     '/«             ....  198 

Figure  327.— Small  copper  bell  fashioned  like  the  modern  sleigh-bell.     '/•            .           .  198 

Figure  328.— Base  metal  bell  representing  the  human  head.     Lamson  collection.    '/•      .  198 
Figure  329.— Base  metal  casting  representing  a  frog,   the   head  of  which   is   adorned 

with  two  conventionalized  alligator  heads.     Lamson  collection.     '/>         .           .  198 
Figure  330.— Figurine  in  base  metal,  to  each  knee  of  which  is  attached  a  conventional- 
ized alligator  head.     (After  Holmes.)      .           .           .           .           .           .           .199 

Figure  331.— Animal  figure  in  base  metal  plated  with  gold,  from  the  mouth  of  which 

project  two  conventionalized  alligators.     (After  Holmes.)                .           .           .  199 
Figure  332.— Gold  figurine  ornamented  with  alligator  motives.     Metropolitan  Museum, 

New  York.     '/•            .           .  200 


LIST  OF  ILLUSTRATIONS.  XIX 

Page 

Figure  333. — Bead  evidently  made  from  a  gold  nugget.     '/'  ....  201 

Figure  334.— Gold  bead.     '/• 201 

Figure  335. — Cylindrical  bead  made  of  sheet  gold.    'A  .....  201 

Figures  336-338.— Cylindrical  gold  beads.     'A 201 

Figure  339. — Gold  ornament,  to  be  worn  as  a  labret  or  earring.     Heye  collection.    'A  201 
Figure  340. — Fine   gold   bell    surmounted  by  an  animal  form ;   the  pellet  inside    is   a 

gold  nugget.     'A        ..........  201 

Figure  341. — Gold  figurine  of  a  fish.     Metropolitan  Museum,  New  York.     '/<       .  .  202 

Figure  342. — Figurine   of  a  deer  in   base   metal   plated  with  low-grade   gold.     Heye 

collection.     'A  ..........  202 

Figure  343. — Small  gold  figurine  of  the  armadillo.     Heye  collection.     'A  .  .  202 

Figure  344.— Gold  figurine  of  a  frog;  a. — dorsal  view;  b. — profile  view.     'A       .  .  202 

Figure  345. — Two   united   images  of  the  frog  in   base  metal  plated  with  gold ;  from 

El  Banco.     'A 203 

Figure  346. — Two  gold  figurines  of  the  frog  united  by  bands  of  twisted  wire.     'A       .  203 

Figure  347. — Gold  image  of  a  frog;  ceramic  type.     'A  .....  203 

Figure  348. — Gold  image  of  a  frog.     Metropolitan  Museum,  New  York.     '/«        .  .  204 

Figure  349. — Simplified  alligator  figurine  in  low-grade  gold.     'A  .  .  .  204 

Figure  350.— Gold    image  of  an    alligator   holding  in   its  mouth  a  human  leg;    from 

Pueblo  Viejo.     Heye  collection.     'A         .......  204 

Figure  351. — Large  massive  gold  image  of  an  alligator.     New  York   Public  Library 

(Lenox  Foundation).     'A      .........  205 

Figure  352. — Bat-shaped    image    in    fine    gold.      New    York    Public    Library    (Lenox 

Foundation).     '/• 205 

Figure  353. — Large  image  of  a  bird  in  an  alloy  of  copper,  gold  and  silver.     '/«  .  206 

Figure  354.— Gold  figure  of  a  bird,  the  head  surmounted  by  snake  heads.     '/•  .  207 

Figure  355.— Gold  figure  of  a  bird,  the  tufts  being  made  of  coiled  wire ;  a.— ventral 

view;  b.— profile  view.     'A  ........  207 

Figure  356. — Gold  image  of  a  bird  with  large  wing-shaped  tufts,  holding  a  small  rep- 
tile in  its  beak.     Heye  collection.     'A     .  .  .  .  .  .  .  208 

Figure  357. — Gold  figure  of  a  bird  with  a  fish  held  in  its  beak  and  with  conventional- 
ized alligator  heads  serving  as  tufts.     Heye  collection.     'A  ...  208 
Figure  358.— Small  bird  figurine  in  gold,  its  head  adorned  with  two  conventionalized 

alligator  heads.     Heye  collection.     'A     .......  208 

Figure  359. — Small  gold  figurine  of  a  bird  ;  a. — dorsal  view  ;   b. — profile  view.     'A       .  209 

Figure  360.— Gold  figure  of  the  jaguar.     'A         .......  209 

Figure  361. — Gold  image  of  an  apelike  monster  with  two  heads.     'A  .  .  209 

Figure  362. — Small  gold  image  of  an  ape.     Heye  collection.     'A      .  .  .  .  209 

Figure  363. — Seated  human  figure  fashioned  from  a  gold  nugget.     'A  .  .  213 

Figure  364. — Standing  human  figure  fashioned  from  a  gold  nugget.     'A     .  .  .  213 

Figure  365.— Image  of  "pure   gold"  representing   the  alligator-god.     (After  Holmes.)  214 

Figure  366. — Gold  figure  of  the  alligator-god.     Heye  collection.     'A  ...  215 

Figure  367.— Image   of  gold   representing  the   alligator-god;   from   the  Huacal  de  los 

Reyes,  Rio  General,  near  Terraba,  Costa  Rica.     Keith  collection.     '/•     .  .  215 

Figure  368.— Gold   figure   of  the   alligator-god;   from   the   Huacal   de   los  Reyes,  Rio 

General,  near  Terraba,  Costa  Rica.     Keith  collection.     '/•  ...  215 

Figure  369.— Gold  image  representing  the  parrot-god.     Heye  collection.     'A       .  .  217 

Figure  370. —Gold  figure  of  the  parrot-god.     Heye  collection.     'A  ...  218 

Figure  371. — Gold  figure  of  the  parrot-god.     Heye  collection.     'A  ...  218 


XX  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

Page 

Figure  372. — Gold   image   of  the  parrot-god  with  alligator  motives  at  the  head  and 

feet.     Keith  collection.     '/•  ........     219 

Figure  373. — Image  of  the  parrot-god  in  gold,   ornamented  with   alligator  motives  at 

the  head  and  feet.     Keith  collection.     '/»  .  .  .  .  .  .219 

Figure  374. — Gold  image  presumably  of  the  jaguar-god.     Heye  collection.     '/»  .     221 

Figure  375. — Gold  image  of  the  jaguar-god,  the  perforated  bars  at  the  head  and  feet 
being  alligator  motives ;   from  the  Huacal  de  los  Reyes,  Rio  General,  Costa 
Rica.     Keith  collection.     '/•  ........     222 

Figure  376.— Gold  figurine  representing  the  jaguar-god  with  an  alligator  motive  serving 

as  head  dress ;  from  Rio  General,  Costa  Rica.     Keith  collection.     '/«      .  .     222 

Figure  377. — Gold  figure  of  the  jaguar-god  with  the  alligator  motive  serving  as  head- 
dress; from  Mercedes,  Costa  Rica.     Keith  collection.     '/'  ...     222 
Figure  378.— Rare  gold  mask  representing  the  human  face.     '/'  .  .  .     224 
Figure  379.— Large  gold  plaque  with  five  embossments  representing  the  human  breast 

Heye  collection.     V»  .........     225 

Figure  380.— Gold  plaque.     Heye  collection.     '/»...  .  .     226 

Figure  381.— Dorsal-view  (alligator)  motives  from  vases  of  the  lost  color  ware.  .     230 

Figure  382. — Dorsal-view  motives  as  seen  on  the  white  line  ware.  .  .  .     230 

Figure  383. — Dorsal-view  motives  from  vases  of  the  alligator  ware.  .  .  .     230 

Figure  384. — Dorsal-view  motives  from  vases  of  the  polychrome  ware.     .  .  .     231 


INTRODUCTION. 

History. — Chiriqui  is  the  name  of  a  lagoon,  river,  volcano  and  province,  the 
latter  being  the  westernmost  province  of  the  new  Republic  of  Panama ;  the  term 
therefore  has  no  connection  whatever  with  Cherokee  with  which  it  is  sometimes 
confused.  The  word  is  evidently  of  Indian  origin,  the  meaning  of  which  I  have 
been  unable  to  trace.  It  appears  in  the  works  of  Oviedo1  as  Cheriqui  and  has 
since  suffered  little  change  in  spelling.  In  this  respect  it  has  fared  better  than 
many  early  geographic  names.  The  same  may  be  said  of  Panama,  a  word  that 
means  "abounding  in  fish,"  and  that  has  been  retained  as  the  name  of  a  town 
since  1519,  also  of  a  bay  and  of  the  Isthmian  region,  although  the  political  fortunes 
of  the  latter  have  been  checkered  indeed.  Among  its  early  governors  were  Diego 
de  Nicuesa,  Vasco  Nunez  de  Balboa,  who  was  the  first  white  man  to  cross  the 
Isthmus  (1513),  and  Pedro  Arias  de  Avila,  commonly  known  as  Pedrarias  Davila, 
who  founded  the  city  of  Panama  (1519).  The  Isthmus  was  incorporated  under 
the  vice-royalty  of  New  Granada  in  1718  and,  with  the  exception  of  the  period 
of  independence  from  1859-61,  was  a  part  of  that  South  American  country  under 
its  changing  titles,  first  as  the  New  Kingdom  of  Granada  (1719-1810),  then  as 
Republic  of  New  Granada,  United  States  of  Colombia,  and  Republic  of  Colombia, 
respectively,  until  November,  1903,  when  it  became  an  independent  republic. 

Panama  was  the  first  region  in  continental  America  to  be  settled  by  Europeans, 
and  since  1535  has  had  a  special  importance  because  of  the  possibilities  of  a 
trade  route  across  the  Isthmus.  The  value  of  such  a  route  was  seen  by  Oviedo, 
the  historian,  who  accompanied  Pedrarias  Davila  to  the  Isthmus  in  1514.  The 
following  is  taken  from  The  [natural]  hystorie  of  the  vveste  Indies,  by  Oviedo  y 
Valdes  : 3 

"And  if  therfore  this  nauigation  may  be  founde  in  the  South  sea  for  the  trade  of 
spices  (as  we  trust  in  God)  to  bee  brought  from  thense  to  the  sayde  porte  of 
Panama  (as  is  possible  enough)  they  may  afterwarde  easly  passe  to  the  Northe 
sea  notwithstandynge  the  difficultie  of  the  waye  of  the  XX.  leaques  aforesayde. 
Whiche  thynge  I  affirme  as  a  man  well  trauayled  in  these  regions,  hauynge  twyse 
on  my  feate  passed  ouer  this  strayght  in  the  yeare.  1521.  as  I  haue  sayde.  It  is 
furthermore  to  be  vnderstode,  that  it  is  a  maruelous  facilitie  to  bryng  spices  by 
this  way  which  I  wil  now  declare.  From  Panama  to  the  ryuer  of  Chagre,  are 
foure  leaques  of  good  and  faire  way  by  which  cartes  may  passe  at  pleasure  by 
reason  that  the  mountaynes  are  but  few  and  lyttle,  and  that  the  greateste  parte 
of  these  foure  leaques  is  a  playne  grounde  voyde  of  trees.  And  when  the  cartes 
are  coomme  to  the  sayde  ryuer,  the  spices  may  be  caryed  in  barkes  and  pinnesses. 
For  this  ryuer  entereth  into  the  North  sea  fyue  or.  VI  leaques  lower  than  the  port 

1  Gonzalo   Fernandez    de  Oviedo  y  Valdes.     Historia    general  y  natural  de  las   Indias, 
IV,  108,  1855. 

2  The   first  three  books  on  America;  transl.  by  R.  Eden,  from  the  Latin  of  Peter  Martyr 
of  Anghierra;  ed.  by  Edward  Arber,  234,  Birmingham,  1885. 

MKMOIRS  CONN.  ACAD  ,  Vol.  III.  1 


2  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

of  Nomen  dei,  and  emptieth  it  selfe  in  the  sea  nere  vnto  an  Hand  cauled  Bastimento. 
where  is  a  very  good  and  safe  port.  Yowr  maiestie  may  now  therfore  consyder  howe 
great  a  thynge  and  what  commoditie  it  may  be  to  conuey  spices  this  way,  foras- 
much as  the  ryuer  of  Chagre  hauyng  his  original!  only  two  leaques  from  the  South 
sea,  contineweth  his  course  and  emptieth  it  selfe  into  the  other  North  sea.  This 
ryuer  runneth  fast  and  is  very  greate,  and  so  commodious  for  this  purpose  as  may 
be  thowght  or  desyred.  .  .  .  But  to  returne  to  speake  sumwhat  of  the  conueying 
of  spices,  I  say  that  when  it  shal  please  almighty  god  that  this  nauigation  afore- 
sayde  shal  bee  founde  by  the  good  fortune  of  yowre  maiestie,  and  that  the  spices 
of  the  Ilandes  of  the  South  sea  (which  may  also  bee  otherwyse  cauled  the  Ocean 
of  the  East  India  in  whiche  are  the  Ilandes  of  Molucca)  shalbe  browght  to  the  sayd 
coaste  and  the  porte  of  Panama,  and  bee  conueyd  from  thense  (as  we  haue  sayde) 
by  the  firme  lande  with  cartes  unto  the  ryuer  Chagre,  and  from  thense  into  this 
owr  other  sea  of  the  North,  from  whense  they  may  afterward  bee  browght  into 
Spayne,  I  say  that  by  this  meanes  the  vyage  shall  bee  shortened  more  then  seuen 
thousande  leaques." 

It  was,  in  fact,  the  belief  in  the  existence  of  a  short  trade  route  to  the  Far 
East  that  led  to  the  discovery  of  America.  Although  called  the  discoverer  of 
the  New  World,  Columbus  saw  very  little  of  the  mainland  —  only  a  short  stretch 
of  the  South  American  coast  near  Trinidad  island  on  his  third  voyage ;  and 
Central  America  and  Panama,  on  his  fourth  and  last  voyage.  It  was  while  searching 
for  the  straits  that  might  lead  him  to  that  part  of  East  India  already  known  to 
geographers  that  Columbus  entered  the  bay  which  forms  a  part  of  Chiriqui  lagoon 
and  which  was  named  for  the  great  Admiral  (Bahia  del  Almirante').  He  had  fol- 
lowed the  coast  from  a  point  off  northern  Honduras,  opposite  the  island  of  Guanaja, 
stopping  at  a  number  of  places  before  reaching  the  coast  of  Chiriqui.  The  story 
of  what  he  did  and  saw  is  full  of  interest,  as  being  the  first  historic  account  of 
a  land  whose  antiquities  inspired  the  present  study.  On  the  25th  of  September, 
1502,  "  the  expedition  cast  anchor  off  a  certain  island  called  by  the  natives  Quiriviri, 
by  Columbus  Husita,  at  more  than  one  and  a  half  leagues  distance  from  Cariay, 
a  population  situated  along  the  banks  of  a  great  river  (probably  Sari  Juan  de 
Nicaragua).  The  natives  came  running  in  great  numbers  attracted  by  the  strangers. 
They  were  armed  with  bows,  arrows  and  darts  made  of  black  palm  and  pointed 
with  strong  fish  spines.  Others  carried  long  lances  and  macanas  [wooden  weapons 
generally  edged  with  sharp  flint],  and  all  were  nude  except  about  the  loins  which 
were  wrapped  in  white  and  red  cotton  cloth.  The  men  with  long  hair  tied  at  the 
back  of  the  head,  and  the  women  with  the  hair  trimmed  (cortado}.  Some  wore 
plates  of  low-grade  gold  (guanin)  and  others  w7ore  jewels  of  the  same  metal  sus- 
pended about  the  neck."1 

Before  leaving  this  region,  now  called  the  Mosquito  Coast,  Columbus  took  on 
board  two  of  the  natives  as  guides.  Sailing  on  the  5th  of  October,  he  soon  reached 
what  is  now  known  as  Boca  del  Toro,  one  of  the  entrances  to  Almirante  bay. 
"  In  one  of  the  ports  of  these  islands  in  Almirante  bay  were  anchored  twenty 
canoes.  The  natives  went  about  nude  with  their  bodies  painted  in  colors,  wearing 

1  Transl.  from  J.  Acosta.  Compendio  historico,  etc.,  2,  Bogota,  1901. 


HISTORY.  3 

plates  of  fine  gold  suspended  from  the  neck.  These  were  the  first  examples  of 
pure  gold  the  Spaniards  had  seen  along  that  coast,  and  which  also  caused  them 
to  commit  the  injustice  of  taking  from  two  natives  the  ornaments  which  the  latter 
had  refused  to  exchange  for  Spanish  trinkets,  a  fact  which  proves  that  traffic  by 
force  had  some  early  precedents  in  the  history  of  America." 

Diego  de  Porras,1  who  accompanied  Columbus,  is  quoted  as  saying  :  "  The  number 
of  pieces  of  gold  which  we  obtained,  great  and  small,  was  220,  weighing  alto- 
gether 9  marcos,  3  ochavas,  7  tomines,  and  1  grain  (equal  to  about  80  ounces). 
There  were  also  12  pieces  of  guani  (gold  much  alloyed),  weighing  one  mark  and 
six  ounces.  Two  pieces  were  not  weighed  -  -  one  a  large  tube,  and  the  other  a 
plate  like  a  mirror."  Specimens  of  the  latter  class  were  worn  suspended  on  the 
breast  by  chiefs  and  important  personages,  who  refused  to  part  with  them. 

All  the  inhabitants  of  the  islands  as  well  as  of  the  mainland  assured  the 
Spaniards  that  gold  was  to  be  found  at  a  number  of  localities  inland,  one  of 
which  was  called  Veragua.  This  name  seems  to  have  become  the  synonym  of 
wealth  in  the  minds  of  the  explorers,  and  has  ever  since  been  linked  with  the 
fortunes  of  the  house  of  Columbus.  His  grandson  Luis  Columbus,  after  having 
been  forced  in  1536  to  give  up  all  claims  to  the  title  of  viceroy,  received  in  return, 
among  other  things,  an  estate  of  twenty-five  leagues  square  in  Veragua  and  the 
title  Duke  of  Veragua.  The  land  grant  was  finally  given  up  after  several 
unsuccessful  attempts  to  found  settlements ;  but  the  dukedom  of  Veragua  still 
exists,  the  title  having  come  down  through  Francesca,  a  niece  of  Luis  Columbus. 
During  the  colonial  period,  Veragua  (or  Veraguas)  corresponded  to  the  western 
part  of  the  Isthmus,  including  the  territory  of  Chiriqui  (as  well  as  of  Burica). 

The  17th  of  October,  Columbus  continued  his  voyage  as  far  as  to  the  mouth 
of  the  Guaiga  river.  Hundreds  of  natives  rushed  to  the  shore  brandishing  their 
arms  and  threatening  to  prevent  the  Spaniards  from  landing.  Finally  assured  of 
the  peaceful  mission  of  the  latter,  they  became  quiet  and  somewhat  reluctantly 
consented  to  exchange  their  gold  plaques,  etc.,  for  Spanish  trinkets. 

Columbus  next  anchored  in  another  river  a  few  leagues  away,  called  Cateba. 
The  inhabitants  here  were  also  warlike  at  first,  but  later  bartered  away  their  gold 
ornaments  for  hawks'-bells,  beads,  etc.  The  Spaniards  observed  two  things  that 
struck  them  as  being  worthy  of  record :  One  was  that  the  chief,  who  here  as 
well  as  almost  everywhere  along  the  coast  was  called  Quibi,  was  distinguished 
from  the  other  natives  only  by  the  fact  that  he  protected  himself  from  the  con- 
stantly falling  rain  (it  was  in  October)  by  a  great  leaf  of  a  tree;  the  other  was 
a  piece  of  mortar,  the  first  they  had  seen  in  America. 

Continuing  his  voyage,  Columbus  touched  at  the  mouths  of  the  Cobrara  and 
Cubiga  rivers.  According  to  the  Cariay  Indians,  no  gold  was  to  be  found  beyond 
the  Cubiga.  A  few  leagues  further  on,  Columbus  entered  a  port  to  which  on 
account  of  its  beauty  he  gave  the  name  Puerto  Bello.  This  is  but  a  short 
distance  east  of  Colon.  They  pushed  still  further  eastward  reaching  in  turn 
Puerto  de  los  Bastimientos  and  Puerto  del  Betrete.  Finally  deciding  to  return  to 

1  E.  G.  Squier.  More  about  the  gold  discoveries  of  the  Isthmus.  Harper's  weekly, 
Aug.  20th,  1859. 


4  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

Veragua  in  search  of  gold,  they  retraced  their  course,  reaching  the  mouth  of  the 
Belen  river  in  January,  1503.  Ascending  this  river  and  the  Veragua  and  Urira 
rivers  nearby,  they  exchanged  Spanish  trinkets  for  the  gold  ornaments  of  the 
natives.  Gold  mines  were  found  on  the  head-waters  of  the  Urira.  The  brother 
of  the  Admiral  extended  his  explorations  in  the  direction  of  Boca  del  Toro  as 
far  as  Cateba.  He  returned  with  so  much  gold  obtained  from  the  natives  that 
Columbus  wrote  to  his  rulers  that  he  had  seen  more  gold  on  the  coast  of  Veragua 
in  two  days  than  on  the  island  of  Cuba  or  Haiti  in  four  years.  Columbus  and 
his  brother  decided  to  found  a  colony  on  the.  Belen  river  near  its  mouth.  The 
place  was  soon  abandoned,  however,  on  account  of  the  hostility  of  the  natives 
and,  after  following  the  coast  as  far  eastward  as  the  Gulf  of  Darien,  Columbus 
set  sail  for  Haiti.  More  than  four  centuries  have  elapsed  since  then,  and  his 
dream  of  a  channel  leading  to  the  mainland  of  Asia  is  soon  to  be  realized  in  the 
completed  Panama  Canal. 

The  glitter  of  gold  on  the  Isthmian  shores  was  not  long  in  attracting  other 
colonists.  The  Atrato  river,  flowing  northward  into  the  Gulf  of  Darien,  was  made 
the  boundary  line  between  two  provinces  -  -  New  Andalusia  on  the  east  and 
Castilla  del  Oro  on  the  west.  The  latter  included  not  only  the  Isthmus  but  also 
a  considerable  portion  of  the  Central  American  region.  Nicuesa,  the  first  governor 
of  Castilla  del  Oro,  attempted  to  found  a  settlement  at  various  points  earlier 
visited  by  Columbus  —  Belen  on  the  coast  of  Veragua,  Puerto  Bello,  and  Puerto 
de  los  Bastimientos,  renamed  by  Nicuesa,  Nombre  de  Dios;  but  his  plans  were 
everywhere  frustrated  by  the  pestilential  climate  and  by  the  Indians,  whose  ear- 
lier experience  with  the  white  man  had  tended  to  increase  their  hostility.  In  the 
meantime,  colonists  from  New  Andalusia  had  formed  a  settlement  on  the  western 
coast  of  the  Gulf  of  Darien,  in  Nicuesa's  territory.  Nicuesa,  having  been  rescued 
from  Nombre  de  Dios,  was  invited  to  govern  at  this  new  settlement,  but  proved 
unwelcome,  was  deported  and  was  never  heard  from  again.  Vasco  Nunez  de  Balboa 
was  elevated  to  the  command.  His  exploits  during  the  next  few  years  form  one 
of  the  most  thrilling  chapters  in  the  early  history  of  Spanish  America.  Chief 
among  them  was  the  crossing  of  the  Isthmus  and  the  discovery  of  the  Pacific 
Ocean  in  1513.  His  outward  as  well  as  return  journey  was  a  triumph  not  only 
of  discovery,  but  also  of  diplomacy  and  conquest.  The  native  chieftains  every- 
where paid  him  tribute,  either  voluntary  or  forced,  in  the  form  of  gold  treasure, 
provisions,  guides  and  laborers.  After  subduing  two  caciques,  Careta  and  Ponca, 
he  next  made  a  friendly  visit  to  the  territory  of  Comagre,  ruled  over  by  a  cacique 
of  the  same  name.  The  dwelling  of  Comagre,  "  surpassed  anything  they  had  yet 
seen  for  magnitude,  and  for  the  skill  and  solidity  of  the  architecture.  It  was  one 
hundred  and  fifty  paces  in  length,  and  eighty  in  breadth,  founded  upon  great 
logs,  surrounded  with  a  stone  wall ;  while  the  upper  part  was  of  woodwork,  cu- 
riously interwoven  and  wrought  with  such  beauty  as  to  cause  surprise  and  ad- 
miration. It  contained  many  commodious  apartments.  There  were  store-rooms 
also ;  one  filled  with  bread,  with  venison  and  other  provisions ;  another  with  va- 
rious spirituous  beverages,  which  the  Indians  made  from  maize,  from  a  species  of 
palm,  and  from  roots  of  different  kinds.  There  was  also  a  great  hall,  in  a  retired 
and  secret  part  of  the  building,  wherein  Comagre  preserved  the  bodies  of  his 


HISTORY.  5 

ancestors  and  relatives.  These  had  been  dried  by  fire,  so  as  to  free  them  from 
corruption,  and  afterwards  wrapped  in  mantles  of  cotton,  richly  wrought,  and  inter- 
woven with  pearls  and  jewels  of  gold,  and  with  certain  stones  held  precious  by 
the  natives.  They  were  hung  about  the  hall  with  cords  of  cotton  and  regarded 
with  great  reverence,  if  not  with  religious  devotion."  *  The  son  of  Comagre  gave 
Balboa  '•  4,000  ounces  of  gold,  wrought  into  various  ornaments  " ; 2  from  him,  also, 
Balboa  first  received  intimation  of  the  Pacific  Ocean  and  the  riches  of  its  shores. 
Before  starting  on  his  journey  across  the  Isthmus,  Balboa  remitted  to  the  King 
15,000  crowns  of  gold,  i.  e.,  one-fifth  of  all  collected  to  date  under  his  jurisdiction. 

The  incidents  of  Balboa's  expedition  across  the  Isthmus  in  search  of  the  southern 
sea  are  replete  with  interest.  In  two  days  he  was  at  the  headquarters  of  Ponca, 
who  assured  him  of  the  truth  of  what  Comagre's  son  had  told  Balboa  concerning 
a  great  sea  beyond  the  mountains,  and  gave  him  several  curiously  wrought  orna- 
ments of  fine  gold  which  came  from  the  shores  of  that  sea.  Setting  out  anew 
on  a  toilsome  journey  of  four  days,  during  which  time  the  expedition  covered  but 
ten  leagues,  they  encountered  a  warlike  cacique,  Quaraqua,  the  ransacking  of 
whose  village  yielded  a  golden  booty.  From  this  village  an  ascent  of  a  few  hours 
brought  Balboa  to  the  crest  of  the  mountains,  from  which  he  beheld  the  broad 
waters  of  the  Pacific. 

Having  called  upon  his  followers  to  witness  that  he  took  possession  of  that 
sea,  and  the  lands  bathed  by  its  waters,  in  the  name  of  his  sovereigns,  Balboa 
began  the  descent  to  its  shores.  He  soon  encountered  the  valiant  cacique, 
Chiapes,  whose  courage  vanished  at  the  sight  of  bloodhounds  and  of  the  havoc 
produced  by  the  mysterious  Spanish  firearms.  Heeding  the  advice  of  their  Indian 
guides,  Chiapes  "  came  trembling  to  the  Spaniards,  bringing  with  him  five  hundred 
pounds'  weight  of  wrought  gold  as  a  peace-offering,  for  he  had  already  learnt  the 
value  they  set  upon  that  metal.  Vasco  Nunez  received  him  with  great  kindness 
and  graciously  accepted  his  gold,  for  which  he  gave  him  beads,  hawks'-bells  and 
looking-glasses,  making  him  in  his  own  conceit  the  richest  potentate  on  that  side 
of  the  mountains."3 

Accompanied  by  Chiapes,  the  Spaniards  finally  reached  the  salt  waters  of  the 
Pacific  in  a  bay  to  which  Balboa  gave  the  name  of  San  Miguel.  The  theatrical 
and  impressive  ceremony  of  taking  possession  of  "  these  seas  and  lands  and  coasts 
and  ports  and  islands  of  the  south,  and  all  thereunto  annexed,"  being  over,  Balboa 
and  a  company  of  picked  men,  in  nine  canoes  manned  by  Indians,  attempted  to 
explore  the  neighboring  gulf  (now  called  San  Miguel).  After  being  rescued  from 
the  boisterous  seas  by  taking  refuge  on  a  small  island,  they  succeeded  in  reach- 
ing the  mainland  near  the  dwelling  of  a  cacique  named  Tiimaco.  A  midnight 
attack  on  the  village  with  guns  and  bloodhounds  was  successful,  the  fleeing  In- 
dians leaving  behind  an  abundance  of  provisions,  much  gold  and  many  pearls. 
Through  the  mediation  of  Tumaco's  son  and  a  ''  mutual  exchange  of  presents,  a 
friendly  intercourse  was  soon  established.  Among  other  things  the  Cacique  gave 

1  Irving.     Life  and  voyages  of  Christopher  Columbus,  III,  118,  1892. 

2  Ibid. 

;l  Ibid.,  141. 


6  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

Vasco  Nunez  jewels  of  gold  weighing  six  hundred  and  fourteen  crowns,  and  two 
hundred  pearls  of  great  size  and  beauty."  Tumaco  also  told  Balboa  "  that  far  to 
the  south  there  was  a  country  abounding  in  gold,  where  the  inhabitants  made  use 
of  certain  quadrupeds  to  carry  burdens.  He  moulded  a  figure  of  clay  to  represent 
these  animals,  which  some  of  the  Spaniards  supposed  to  be  a  deer,  others  a 
camel,  others  a  tapir;  for  as  yet  they  knew  nothing  of  the  lama,  the  native  beast 
of  burden  of  South  America."1 

The  last  cacique  on  the  Pacific  coast  to  pay  tribute  to  Balboa  was  Teaochan, 
from  whom  he  received  gold,  pearls  and  an  abundant  supply  of  provisions.  Re- 
crossing  the  Isthmus  to  the  Gulf  of  Darien,  the  Spaniards  passed  through  the 
territory  of  a  rich  and  powerful  chief,  called  Poncra,  whose  village  was  ransacked 
and  gold  obtained  to  the  value  of  three  thousand  crowns.  Here  they  remained 
thirty  days  until  rejoined  by  a  detachment  that  had  been  left  at  the  village  of 
Chiapes.  From  the  cacique  who  accompanied  this  party  presents  were  received 
to  the  value  of  two  thousand  crowns  in  gold. 

Balboa  and  his  men  next  faced  the  redoubtable  Tubanama,  the  most  powerful 
of  the  mountain  chieftains  and  the  one  of  whom  the  son  of  Comagre  had  spoken. 
In  a  midnight  attack,  Tubanama  was  captured.  The  price  of  his  ransom  was  gold 
ornaments  to  the  value  of  nine  thousand  crowns.  Nothing,  however,  would  induce 
him  to  tell  where  the  mines  that  produced  this  treasure  were  located.  Balboa 
instituted  a  secret  survey  which  disclosed  the  presence  of  gold  in  such  quantities 
that  he  planned  to  found  two  settlements  in  the  neighborhood. 

Balboa's  brilliant  career  was  soon  cut  off  by  the  arrival  of  the  newly  appointed 
governor  of  Castilla  del  Oro,  Pedrarias  Davila,  who  did  not  cease  to  thwart  and 
persecute  his  gifted  and  highly  successful  predecessor,  and  who  finally  had  him 
beheaded  on  a  false  charge  of  treason  ;  but  not  until  Balboa  with  incredible  energy 
and  resourcefulness  had  caused  to  be  transported  over  the  mountains  materials 
and  stores  for  two  brigantines  in  which  he  was  to  sail  over  the  waters  of  the 
Pacific  to  the  land  of  the  Incas  about  which  Tumaco  had  informed  him. 

After  founding  Panama  in  1519,  Pedrarias  sent  Espinosa  to  explore  the  Pacific 
coast  to  the  westward,  placing  at  his  command  the  very  ships  that  had  been 
constructed  under  almost  insuperable  difficulties  by  Balboa.  Arriving  at  the  prov- 
ince of  Burica,  west  of  the  present  Chiriquian  boundary,  Espinosa  set  out  on  his 
return  journey  by  land  and  was  presumably  the  first  Spaniard  to  cross  that  part 
of  Chiriqui  now  celebrated  for  its  antiquities.  One  ship  was  sent  farther  up  the 
coast  to  a  gulf  called  San  Lucar,  in  Nicaragua.  Espinosa  first  traversed  the  prov- 
ince of  Huista,  evidently  on  Chiriquian  territory.  Here  the  Spaniards  remained 
for  some  time  loading  their  ships  with  maize  before  sending  them  back  to  Panama. 
These  may  have  been  anchored  in  the  present  port  of  David.  They  observed 
that  the  people  of  "  this  province  and  of  that  of  Burica,  were  almost  exactly  the 
same  in  the  fashion  of  their  clothes,  and  in  their  customs.  The  women  wore  a 
truss  round  their  loins,  as  their  clothing ;  and  the  men  were  naked.  The  country 
is  fertile,  with  plentiful  supplies  of  fish,  and  a  great  quantity  of  swine,2  which 

1  Op.  cit.,  148. 

'-  They  mistook  peccaries  for  swine. 


HISTORY;  7 

were  caught  with  large  nets  of  stuff  like  hemp,  called  by  the  Indians  nequen,  the 
meshes  being  a  finger  in  breadth.  These  nets  were  fastened  at  the  entrance  of 
a  wood  where  there  was  a  herd  of  swine,  who  came  against  the  nets  and  were 
unable  to  get  through  the  meshes.  Then  the  people  called  out,  the  nets  fell  over 
the  swine,  and  they  were  killed  with  lances,  so  that  none  escaped  of  those  that 
fell  into  the  nets."1 

Gil  Gonzalez  de  Avila  also  coasted  along  these  shores  as  far  as  the  Gulf  of 
San  Lucar.  About  the  same  time  Francisco  Hernandez  de  Cordova  was  sent  by 
Pedrarias  to  subdue  and  settle  Nicaragua.  He  founded  the  cities  of  Leon  and 
Granada.  Two  of  his  captains,  Francisco  Campanon  and  Soto,  objecting  to  his 
acts,  left  overland  for  Panama  where  they  arrived  without  horses  and  barefooted. 
"  They  had  passed  the  villages  of  the  Indians  at  night,  and  taken  provisions  from 
them.  Thus  they  had  reached  the  province  of  Chiriqui,  which  is  between  Burica 
and  Nisca,  where  there  was  a  settlement  which  had  been  made  by  Captain  Benito 
Hurtado,  by  order  of  Pedrarias,  called  the  city  of  Fonseca.  .  .  .  After  these  ten 
Spaniards  had  passed  through  this  city  of  Fonseca,  the  captain,  with  some  followers, 
set  out  in  the  direction  of  Nicaragua,  whence  the  others  had  come.  Thus  the 
settlement  was  abandoned ;  for  those  who  remained,  seeing  that  their  comrades 
did  not  return,  went  after  them  to  the  Gulf  of  San  Lucar." 2  Fonseca,  presumably  the 
first  settlement  made  on  the  Pacific  coast  of  Chiriqui  and  so  soon  to  be  abandoned, 
was  probably  at  or  near  the  present  San  Lorenzo  on  the  Rio  Fonseca  (see  map). 

With  Pedrarias  there  came  Oviedo,  the  "  first  chronicler  of  the  New  World," 
and  surveyor  of  the  royal  foundries,  from  whom  we  get  a  glimpse  of  the  Pacific 
coast  tribes  of  the  region  from  which  our  antiquities  came.  Passages  from  his 
Historia  General  y  Natural  de  las  Indias?  in  which  Chiriqui  is  first  mentioned, 
are  as  follows :  u  En  la  costa  del  Sur,  en  el  golpho  de  Orotina,  comien9a  la  lengua 
de  Nicaragua,  e  de  alii  discurre  ha9ia  Poniente ;  e  mas  adelante  9inco  leguas  hay 
un  grand  pueblo  de  chorotegas  a  la  parte  del  Levante ;  e  ocho  leguas  al  Poniente 
de  la  dicha  Orotina  hay  otro  que  se  llama  Coribia.  E  son  los  dos  indios  de  otra 
lengua  apartada  de  todas  las  que  se  han  dicho  en  esta  historia :  e  alii  traen  las 
mugeres  bragas,  e  todo  lo  demas  traen  desnudo,  e  tambien  en  la  provin9ia  de 
Cheriqui  y  en  Judea ;  pero  Cheriqui  ni  Judea  no  son  desta  goberna9ion,  sino  en 
la  costa  desde  el  golpho  de  Orotina  al  Oriente  ha9ia  Panama.  En  las  islas  del 
golpho  de  Nicaragua  6  de  Orotina  todas  las  mugeres  traen  bragas ;  e  son  choro- 
tegas e  lo  mismo  los  de  Nicoya,  como  esta  dicho. 

"  Desde  Nicoya  a  la  parte  del  Oriente  ha9ia  Panama  e  Castilla  del  Oro  e  lo 
demas  son  los  ca9iques  senores :  e  de  alii  abaxo  al  Poniente  ha9ia  Nicaragua  son 
behetrias  e  comunidades,  e  son  elegidos  los  que  mandan  las  repiiblicas.  . 

"  La  provin9ia  de  los  Cabiores  es  a  veynte  6  veynte  e  9inco  leguas  de  Cheriqui, 
al  Poniente  en  la  costa  del  Sur ;  e  la  provin9ia  de  Durucaca  es  junto  a  la  de 
Cabiores.  En  estas  dos  provin9ias  hilan  los  hornbres  como  mugeres,  e  lo  tienen 
por  cosa  e  offi9io  ordinario  para  ellos. 

1  Pascual  de   Andagoya.     Narrative  of  the  proceedings  of  Pedrarias   Davila ;   transl.   by 
Clements  R.  Markham,  24,  London,  1865. 

2  Op.  cit.,  37. 

l!  IV,  108,  Madrid,  1855. 


g  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

"  La  provincia  que  los  espanoles  llaman  Judea,  llaman  los  indfos  Barecla,  la  qua! 
confina  con  Cheriqui  y  esta  en  la  mesma  costa  del  Sur,  seys  leguas  mas  al  Poniente 
de  la  dicha  Cheriqui :  llamaronla  Judea,  porque  es  la  gente  de  alii  muy  vil  e  sugia 
e  para  poco." 

Southern  Chiriqui,  the  region  which  has  furnished  practically  all  the  antiquities, 
is  to-day  almost  as  difficult  of  access  as  it  was  in  the  time  of  Espinosa,  Campanon 
and  Oviedo.  In  order  to  reach  it  one  must  still  cross  the  Isthmus  and  go  by  boat 
from  Panama,  a  distance  of  300  miles  around  the  peninsula  of  Azuero,  to  the  port 
of  David.  With  the  completion  of  the  Panama  Canal  and  the  development  of  the 
more  direct  routes  over  the  mountains  from  Bocas  del  Toro  and  by  way  of  Costa 
Rica  this  region  will  become  better  known  commercially  as  well  as  archeologically.1 
It  first  became  prominent  as  a  field  for  archeological  research  with  the  discovery 
of  the  golden  treasure  at  Bugavita  in  1858-9. 

Cemeteries  and  Tombs. — A  mountain  chain  divides  Chiriqui  into  two  nearly  equal 
parts.  As  has  been  intimated,  the  ancient  cemeteries  or  huacals,  as  they  are  called, 
in  Spanish  America  are  practically  confined  to  the  southern  half,  that  is  to  say, 
the  Pacific  watershed.  In  fact,  Dr.  Merritt,  at  one  time  director  of  a  gold  mine  in 
Veragua,  had  never  "  heard  of  any  such  burial  grounds  on  the  northern  side  of 
the  Isthmus,  from  the  lagoons  of  Chiriqui  to  the  valley  of  the  Chagres  —  and  where 
they  would  have  been  discovered  by  the  gold-seeker,  who  has  been  ransacking 
this  section  for  more  than  300  years."  Nevertheless,  it  is  probable  that  this  region 
will  yet  yield  a  rich  archeological  harvest  when  it  is  explored  as  thoroughly  as  a 
part  of  the  Atlantic  coast  of  Costa  Rica  has  been.  On  the  other  hand,  ancient 
cemeteries  are  met  with  everywhere  on  the  Pacific  slope,  from  near  the  mountain 
tops  to  within  a  short  distance  of  the  sea.  An  idea  of  their  number  and  distri- 
bution may  be  had  from  the  account  of  Thomas  F.  Meagher,2  who  crossed  the 
Isthmus  from  David  to  Bocas  del  Toro  fifty  years  ago : 

"  A  mile  outside  Dolega  the  party  stopped  at  the  house  of  Don  Roberto  Soes, 
the  discoverer  of  the  golden  relics  in  the  Indian  graves  of  Chiriqui.  All  the  way 
from  David  we  had  ridden  through  thousands  of  these  disemboweled  and  ransacked 
graves,  and  in  every  direction,  for  leagues  and  leagues,  from  Terraba  and  Boruca 
to  Santiago  de  Veragua,  we  might  have  seen  tens  of  thousands  more." 

One  of  the  best  known  huacals  is  that  of  Bugavita  (near  Bugaba),  where  so 
many  gold  ornaments  were  found  in  1858-9.  Dr.  Merritt's  description  of  this 
cemetery  is  quoted  at  length  because  of  its  excellence  and  of  the  fact  that  copies 
of  his  paper  are  extremely  rare :  * 

"  The  Huacal  of  Bugaba  embraced  an  area   of  twelve  acres,    but  was  divided 

into  two  sections  —  by  a  slight  depression  extending  in  an  east-and-west  direction 

-  in  which   not  a   single  grave  has  been  encountered.      This  depression  of  the 

surface  varied  in  width  from  eighteen  to   ten  yards,  toward  the   east.      The  two 

1  A  railroad  is  now  being  built  from  Panama  to  David. 
!  The  new  route  through  Chiriqui.     Harper's  mag.,  XXII,  198,  1861. 

3  J.  King  Merritt.  Report  on  the  huacals,  or  ancient  graveyards,  of  Chiriqui ;  publ.  by 
the  Amer.  ethnol.  soc.  previous  to  vol.  I  of  its  Bulletins. 


CEMETERIES  AND  TOMBS.  9 

sections  were  respectively  five  and  seven  acres,  and  were  located  on  slightly 
elevated  eminences,  about  four  hundred  yards  from  a  small  river,  the  course  of 
which  is  northeast  by  east  at  this  point.  The  rise  from  the  river  banks  to  the 
Huacal  is  very  gradual,  except  at  the  northern  boundary,  which  is  somewhat 
abrupt,  and  around  which  the  river  turns  toward  the  east.  The  general  direction 
of  the  Huacal  is  north  and  south;  and  the  greater  portion  of  the  graves  were 
found  on  the  western  and  southern  slopes.  There  did  not  appear  a  general  reg- 
ularity in  the  position  of  the  Huacas,  or  graves,  but  frequently  there  would  occur 
several  side  by  side.  The  distance  between  the  grave-pits  varied  from  nine  to 
fifteen  inches  at  the  more  crowded  portions  of  the  Huacal.  The  universal  direction 
of  the  quadrangular  Huacas  is  north  and  south  by  the  polar  star. 

"  There  are  two  forms  of  Huacas  or  graves  -  -  the  oval  and  quadrangular ;  and 
their  mode  of  construction  is  an  interesting  matter  for  consideration.  I,  with  a 
small  party  of  peons,  examined  carefully  and  systematically  one  of  the  former  and 
several  of  the  latter  description;  and  besides,  saw  a  large  number  of  both  varieties 
opened  by  parties  in  the  vicinity.  The  material  uniformly  employed  in  the  con- 
struction of  the  sepulcher  proper  was  flat  and  rounded  river  stone.  The  oval 
grave-pits  were  from  four  and  a  half  to  six  feet  deep,  and  from  three  to  four  feet 
in  their  largest  diameters.  A  wall  of  the  rounded  river  stone,  two  and  a  half  to 
three  feet  high,  lined  the  grave-pit  at  the  bottom,  after  the  manner  of  a  modern 
well.  From  the  top  of  this  wall  to  the  surface  the  entire  area  of  the  grave-pit 
was  closely  packed  with  rounded  river  stone.  Within  the  limits  of  the  wall,  which 
seemed  to  be  the  tomb  proper,  were  found  principally  the  golden  figures,  and  the 
vessels  of  pottery,  etc.  The  greater  portion  of  the  oval  or  circular  Huacas  were 
located  in  the  northern  and  western  sections  of  the  burial-ground ;  and,  as  a 
general  rule,  yielded  the  most  figures  of  gold  and  the  finest  specimens  of  pottery.  ' 
The  relics  in  these  were  found  usually  at  the  eastern  and  northern  sides ;  and  the 
gold  figures  sometimes  were  located,  it  is  said,  in  the  crevices  of  the  wall  —  but 
in  no  instance  in  the  earthen  jars  associated  with  them.  The  circular  graves, 
being  confined  to  the  slopes  of  the  Huacal,  were  more  or  less  covered  by  the 
wash  from  the  elevated  sections  of  the  Huacal,  so  that  the  top  stones  of  the 
package  were  in  many  cases  nearly  a  foot  beneath  the  surface.  No  vestige  of 
the  human  body  was  discovered  in  the  oval  Huacas ;  but  a  black  loam  occupied 
the  spaces  between  the  relics  and  the  stone  package.  Occasionally  earthen  vessels 
were  found  in  the  stone  package  near  the  surface.  The  quadrangular  Huacas 
were  constructed  in  two  modes.  In  one  case  the  grave-pit  was  lined  by  walls 
of  rounded  river  stone  about  one  third  the  distance  to  the  surface ;  and  from  the 
top  of  these  walls  the  entire  area  of  the  grave-pit  was  closely  packed  with  river 
stone,  as  in  the  oval  grave.  Within  the  limits  of  these  walls,  and  in  close  proxim- 
ity to  the  bottom  of  the  grave-pit,  were  found  most  of  the  relics  contained  in 
them.  These  Huacas  were  larger  and  yielded  more  gold  images  and  finer  pottery 
than  the  other  variety  of  the  quadrangular  grave,  and  were  in  juxtaposition  with 
the  oval  graves,  occurring  interspersed  with  them  in  the  northern  and  western 
sections  of  the  Huacal,  but  abounding  principally  in  the  southern  portion  of 
the  ground.  Some  of  these  Huacas  were  nearly  six  feet  deep,  especially  those 
situated  in  the  depressed  sections  of  the  Huacal,  and  the  area  of  the  grave-pit 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  2 


10  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

measured  frequently  seven  by  four  and  a  half  feet.  In  these  the  relics  were 
usually  found  near  the  bottom,  at  the  northern  and  southern  extremities,  and 
more  or  less  on  the  eastern  side.  The  gold  figures  most  frequently  were  located 
about  one  fourth  of  the  distance  from  the  head  to  the  foot  of  the  grave-pit,  and 
in  the  medial  line.  In  these  Huacas,  also,  earthen  vessels  were  encountered  in 
the  stone  package  near  the  surface,  and  generally  at  either  extremity. 

"  The   other   variety    of  the   quadrangular  Huaca,  although   poor  in  relics,  was 
more  artistically  and  carefully  constructed,  and  in  a  better  state  of  preservation ; 
for  in  many  of  them  everything  was  encountered  '  in  situ."1     In  these  a  vault  existed, 
which   was  formed  of  flat  river  stone,  and  was  of  the  requisite  size  to  contain  a 
human  body  in  the  supine  position,  so  far  as  the  length  and  breadth  are  considered, 
but   in  the  height  giving  ample  space  for  the  introduction  of  the  earthen  relics. 
These  Huacas   were  located  mostly  on  the  more  elevated  portion  of  the  Huacal, 
and  in  the  southern  and  eastern  sections.     A  grave-pit  had  been  sunk  about  three 
feet  deep  and  six  and  a  half  by  four  feet  in  area ;  and  then  a  lesser  pit,  by  eight 
to  ten  inches  on  all  sides,  was  farther  sunk  to  the  additional  depth  of  about  two 
feet.     This  smaller  pit  was  lined  by  flat  stones  placed  edgewise,  which  were  held 
in  position  by   other  flat  stones  resting  flatwise   upon  the  upper  edges  of  these 
and  the  surface  of  the  recess  in  the  sides  of  the  grave-pit.     The  floor  of  the  vault 
was  not  paved,  but   presented   a  hard,  pebbly  clay  surface,  with  two  depressions 
frequently,  one  at  either  extremity,  and  corresponding  with  the  probable  positions 
of  the  occiput  and  the  heels  of  the  body.     The  cover  to  the  vault  was  composed 
of  flat  stones,  quite  closely  adjusted,  and  sufficiently  overlapping  the  sides  to  be 
firm,  and  not  liable  to  cave  in  from  the  variations  of  position  of  the  sides,  consequent 
upon  subsequent  settlings  of  the  earth  and  stone  from  natural  causes.     From  the 
cover   of  the   vault   to  the  surface,  the  entire   area   of  the  grave-pit  was  closely 
packed  with  river  stone,  somewhat  larger  than  ordinary  paving-stone.     In  these 
Huacas  the  relics  were  also  found  mostly  in  the  vault,  at  the  head  and  foot,  and 
on  the  east  side.     So  far  as  my  experience  goes,  earthen-ware  only  was  found  in 
these,   although   I   was   told   that   a  few  had   contained   the  smaller  gold  figures. 
Specimens  of  pottery  were  encountered  also  in  these,  at  either  extremity  of  the 
stone  package,  immediately  above  the  cover  of  the  vault.     The  location  of  these 
vaulted  Huacas,  being   the  more  elevated  section  of  the  burial-ground,   and  the 
vaults   also    preserving   their   outlines,   the   stone  package  of  most  of  them   was 
slightly  raised  above  the  general  surface.     A  black  loamy  earth  occupied  all  the 
graves  proper,  or  the  original  position  of  the  body  in  it. 

"  It  would  seem,  from  the  facts  I  have  stated,  that  the  gold-bearing  graves  were 
those  which  were  ruder  in  their  construction,  and  which  occupied,  to  some  degree, 
a  particular  section  of  the  Huacal,  although  the  limits  of  this  were  not  well  defined. 
The  golden  ornaments  were  not  found  in  many  successive  Huacas,  even  at  the 
richest  points  of  the  Huacal.  Pottery,  however,  was  encountered  more  or  less  in 
every  Huaca.  It  is  reported  that  in  other  Huacals,  in  the  vicinity  of  Bugaba,  traces 
of  human  hair  have  been  discovered ;  but  in  those  of  Bugaba,  which  I  explored 
carefully,  no  such  evidence  of  the  body  was  encountered.  I  have,  however, 
the  enamel  of  a  molar  tooth,  taken  from  a  grave  in  a  Huacal,  near  that  of 
Bugaba.'' 


CEMETERIES   AND  TOMBS.  11 

Mr.  John  F.  Bateman.  a  companion  of  Dr.  Merritt,  explored  a  number  of  huacals 
in  the  highlands  near  the  Volcano  of  Chiriqui.  Some  of  these  were  on  the  head- 
waters of  the  river  Caldera,  east  of  the  Volcano.  At  one  place  about  three  hundred 
circular  graves  were  found.  Nearby  was  a  huacal  some  twelve  acres  in  extent  and 
completely  covering  the  elevated  portion  of  a  pasture  (potrero).  The  graves  were 
so  close  together  "  that  in  excavating  one  we  would  open  three  or  four  others. 
These  were  all  regularly  built  sepulchres ;  the  body  having  been  laid  on  the  hard- 
pan  or  clay,  the  sides  formed  of  flat  stones,  and  these  covered  with  large  flat 
stones,  many  of  which  would  measure  a  yard  square.  In  these  graves,  and  those 
in  the  adjoining  forest,  which  vary  in  depth  from  three  to  four  feet,  are  found  the 
same  river  stones.  In  the  forest  are  found  additional  stones, —  quadrates,  of  four 
inches  by  twenty  inches  in  length.  These  were  placed  vertically,  thirty  inches 
apart,  around  the  edge  of  the  quadrangular  graves. 

u  In  this  locality  I  witnessed  the  opening  of  a  large  grave  about  ten  feet  in 
depth,  marked  by  five  round  pillars  of  stone,  of  fourteen  inches  in  diameter  and 
from  five  to  six  feet  in  length, —  three  to  four  feet  of  which  were  in  the  ground. 
The  pillars  were  placed  to  represent  a  square  with  one  in  the  center.  Under  this 
one,  on  the  clay,  was  found  a  plate  of  gold,  four  inches  in  diameter,  and  the 
small  figure  of  an  anteater.  No  pottery  was  found  in  this  grave,  and  this  was  the 
only  one  in  that  locality  containing  gold.  Stone  hatchets  were  found  here,  but 
no  musical  instruments.  The  pottery  was  all  small,  and  rude  in  shape  and  material. 
Small  basins  standing  on  three  feet,  each  [foot]  of  which  contained  a  small  pellet 
of  clay.  None  of  the  pottery  was  either  glazed  or  painted."  l 

Bateman  also  found  a  huacal  north  of  the  Volcano,  presumably  near  the  source 
of  Rio  Chiriqui  Viejo.  Following  the  ridge  for  a  mile,  he  came  upon  the  graves 
he  had  long  wished  to  see  —  "  those  marked  with  pillars  of  basalt,  mossgrown  and 
bearing  marks  of  extreme  age."  The  grave  opened  by  Bateman  was  marked  by 
four  pillars  in  a  line ;  the  one  at  the  south  end  was  large,  and  the  other  three, 
at  intervals  of  thirty  inches,  were  smaller.  Large  quantities  of  river  stone  of  all 
sizes  were  found  in  this  grave,  also  great  quantities  of  broken  pottery,  different 
in  quality  from  any  previously  discovered.  "  It  was  very  thick  and  finely  glazed2 
on  both  sides."  The  condition  of  the  clay  at  a  depth  of  five  feet  pointed  to  a 
double  burial,  the  position  of  the  bodies  being  marked  by  black  loamy  earth  alone. 

De  Zeltner,  from  whom  the  Yale  Museum  obtained  some  of  the  finest  specimens 
of  pottery,  speaks  of  six  types  of  Chiriquian  graves:  (1)  The  oval  cist;  (2)  quad- 
rangular grave,  with  walls  and  roofing  of  stone,  one  meter  wide  by  about  two 
and  a  half  meters  long ;  (3)  so-called  fortified  tombs,  deeper  than  the  two  preceding, 
quadrangular  in  form,  with  a  square  stone  pillar  at  each  corner  and  a  fifth  stone 
pillar  of  smaller  size  at  the  center;  (4)  tombs  with  roofing  of  flag  stones  and 
provided  with  four  pillars  one  and  a  half  meters  high.  Between  the  pillars  the 
walls  are  built  up  of  rounded  stones ;  (5)  tombs  with  roofing  of  earth,  according 
to  de  Zeltner,3  the  most  common  type  of  all  and  described  by  him  at  length : 

1  J.  F.  Bateman.     Bull.  Amer.  ethnol.  soc.,  I,  28,  1860--61. 

2  He  evidently  employs  the  term  glaze  in  the  sense  of  slip. 

3  A.  de  Zeltner.    Note  surles  sepultures  indiennes  du  departement  de  Chiriqui,  Panama,  1866. 


12  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

"  Apres  avoir  ecarte  les  obstacles  accumules  par  le  temps  et  la  vegetation,  on 
decouvre  au  niveau  du  sol  un  pavage,  en  forme  de  carre  long,  de  trois  a  quatre 
metres  de  long  sur  une  largeur  de  deux  ou  trois,  et  de  quatre-vingts  centimetres 
d'epaisseur  en  general;  a  chaque  angle,  un  pilier  carre  en  pierres,  de  1.60  de 
hauteur  et  de  0.25  au  plus  d'epaisseur.  Au  centre,  a  distance  egale  des  quatre 
angles,  se  trouve  un  autre  pavage  carre,  correspondant  au  premier.  Celui-ci 
recouvre  une  voute  en  forme  de  citerne,  d'un  metre  de  long  et  de  quatre-vingts 
centimetres  a  peu  pres  de  large.  Le  sol  est  empierre,  et  c'est  la  veritable  entree 
de  la  guaca.  A  deux  metres  a  peu  pres  de  profondeur  se  trouve  enfin  le  tombeau, 
dont  la  distance  du  premier  pavage  est  en  definitive  de  quatre  a  cinq  metres. 
Cette  sorte  de  chambre  a  pres  de  trois  metres  de  long,  deux  de  large ;  et  sa  hauteur 
n'est  guere  que  d'un  metre  et  demi.  Elle  est  creusee  dans  le  sol  sans  etre  revetue 
d'aucune  espece  de  ma9onnerie.  Sa  forme  est  pyramidale,  et  la  pente  commence 
a  1' entree  pour  aller  en  diminuant  jusqu'au  fond " ;  (6)  canal  tombs,  recognized 
by  a  surface  packing  of  river  stones,  two  meters  long  by  one  meter  in  width. 
Beneath  this  the  tomb  is  sunk  in  the  earth  and  is  not  lined  with  stones  of  any 
kind. 

Mr.  J.  A.  McNiel,  who  collected  most  of  the  specimens  figured  in  this  work, 
witnessed  the  opening  of  many  graves.  He  says  there  are  seldom  surface  indi- 
cations to  attract  the  inexperienced  eye,  the  location  of  the  grave  being  ascer- 
tained by  thrusting  a  light  iron  bar  into  the  ground  till  it  strikes  the  stone  roofing 
over  the  vault.  The  latter  varies  in  depth  from  one  to  five  meters.  Even  after 
allowing  for  surface  wash  and  fill,  there  must  have  been  considerable  variation  in 
the  original  depth  of  the  graves,  as  some  of  the  deepest  ones  were  so  situated  as 
to  preclude  the  possibility  of  subsequent  fill.  According  to  McNiel,  the  flat  roofing 
stones  rest  upon  round  ones  which  form  the  walls  of  the  vault.  These  were 
evidently  brought  from  river  beds,  and  in  many  cases  from  long  distances,  as  they 
are  more  water-worn  and  much  smoother  than  the  stones  of  the  locality  in  question. 
He  found  no  apparent  orientation  in  a  given  direction,  the  graves,  about  a  thou- 
sand, in  all  the  groups  examined  by  him  being  "  promiscuously  strewn  at  much 
cost  of  space." 

M.  A.  L.  Pinart,1  a  later  observer,  states  that  the  oval  cists  are  the  most  nu- 
merous ;  and  mentions  a  rectangular  type  of  grave  with  walls  and  roofing  of  flat 
stones.  The  human  bones  were  placed  on  the  floor  of  the  chamber  with  no  ap- 
parent order,  generally  near  the  walls.  The  gold  ornaments  were  with  the  bones, 
while  the  pottery  and  stone  objects  were  found  at  the  center.  He  also  speaks  of 
another  class  with  rudely  built  chamber,  whereas  '•  sur  les  cotes  on  avait  creuse 
dans  la  parois  des  niches,  parfaitement  garnies  de  dalles  dans  lesquelles  etaient 
deposes  les  cadavres ;  chaque  niche  se  fermait  par  une  autre  dalle."  In  such 
tombs  the  artifacts  of  stone  and  pottery  were  placed  in  the  chamber,  the  gold 
ornaments,  however,  occurring  only  in  the  niches.  Pinart  insists  that  there  are 
but  two  kinds  of  graves  in  Chiriqui  (and  in  all  Panama),  and  is  equally  sure  that 
the  bones  were  cleaned  before  being  interred. 

1  Chiriqui :  Bocas  del  Toro,  Valle  Miranda.  Bull.  Soc.  de  geogr.  de  Paris,  7C  ser.,  VI, 
433,  1885. 


CEMETERIES  AND  TOMBS.  13 

In  comparing  the  description  of  the  graves  as  given  by  various  observers,  the 
latter  appear  to  agree  in  certain  respects  and  differ  in  others.  For  example,  all 
agree  that  there  were  at  least  two  generalized  forms  of  graves  —  the  oval  and  the 
quadrangular.  There  is  also  agreement  as  to  their  dimensions  and  depth  beneath 
the  surface.  That  one  type  of  quadrangular  grave  was  walled  with  flat  stones 
placed  edgewise  and  covered  with  one  or  more  flat  stones,  there  seems  to  be 
common  accord.  The  floor  of  all  the  graves,  both  oval  and  rectangular,  was 
simply  earth  or  hard-pan.  Any  attempt  to  further  harmonize  the  descriptions  of 
the  various  observers,  however,  results  in  the  accentuation  of  numerous  contra- 
dictions and  discrepancies.  Merritt  describes  a  quadrangular  type  of  tomb,  with 
walls  of  rounded  river  stone,  resembling  in  every  respect  the  oval  cist  except  in 
horizontal  section.  The  only  other  author  who  mentions  this  kind  of  lining  for 
any  but  the  oval  graves  is  de  Zeltner,  yet  he  adds  features  not  noted  by  Merritt, 
such  as  a  pillar  at  each  corner  and  a  roofing  of  flag  stones.  Bateman  was  pres- 
ent at  the  opening  of  a  grave,  at  each  corner  of  which  was  a  round  pillar  and 
a  fifth  pillar  in  the  center.  This  may  have  been  the  grave  on  which  de  Zeltner 
bases  his  class  number  three,  but  he  speaks  of  the  pillars  as  being  square  instead 
of  round.  Curiously  enough,  de  Zeltner's  fifth  class,  the  one  he  calls  the  largest 
in  point  of  numbers,  is  not  mentioned  by  any  other  writer.  McNiel  could  discover 
no  apparent  attempt  at  orientation.  On  the  other  hand,  Merritt  says  the  universal 
direction  of  the  quadrangular  graves  at  Bugaba  (Bugavita)  is  north  and  south  by 
the  polar  star.  Bateman,  also,  was  satisfied  that  the  bodies  were  all  placed  north 
and  south. 

Merritt  says  that,  as  a  general  rule,  the  circular  graves  at  Bugavita  yielded  the 
most  figures  of  gold  and  the  finest  specimens  of  pottery ;  and  that  the  quadran- 
gular cist  lined  with  rounded  stones  contained  more  gold  images  and  finer  pottery 
than  the  vaults  built  of  flat  stones,  the  latter,  although  more  artistically  and  care- 
fully constructed  and  in  a  better  state  of  preservation,  being  poor  in  relics.  In 
referring  to  the  same  cemetery  Bateman  states  that  gold  is  found  in  some  of  the 
graves,  "  while  others  in  close  vicinity,  although  containing  more  pottery,  and 
that  of  a  higher  order,  contained  no  gold, —  the  richest  graves  having  the  least 
pottery."  According  to  McNiel,  the  oval  grave-pits  had  very  few  artifacts  of  any 
kind.  His  workmen  informed  him  that  where  stone  images  were  found,  "  it  was 
looked  upon  as  indicating  a  rich  grave  in  pottery  and  probably  gold." 

Mr.  C.  V.  Hartman1  gives  a  careful  description  of  graves  examined  by  him  in 
the  highlands  and  on  the  east  coast  of  Costa  Rica  where  the  same  two  generalized 
types  abound  —  the  oval  and  the  quadrangular,  the  latter  being  the  more  abundant. 
Both  classes  were  often  found  in  the  same  group;  as  was  the  case  at  Bugavita. 
The  two  kinds  resemble  those  of  Chiriqui  except  that  Hartman  mentions  a  floor 
of  cobble-stones  for  the  oval  pits  and  of  flat  stones  for  some,  at  least,  of  the 
quadrangular  cists.  The  walls  of  the  latter  were  either  of  flat  stones  set  on  end 
or  of  cobble  —  stones,  depending  on  nature's  supply.  As  many  of  these  rectangular 
cists  are  shorter  than  the  average  human  body  reclining  horizontally  at  full  length, 
the  disposition  of  the  remains  in  such  graves  points  to  the  custom  of  interring 

1  Archaeological  researches  in  Costa  Rica,  Stockholm,  1901. 


14  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

the  bones  or  only  a  part  of  them  instead  of  the  corpse.  Pinart  believes  that  this 
custom  also  prevailed  in  Chiriqui. 

Human  Remains. — The  rarity  of  human  remains  in  Chiriquian  graves  has  often 
been  emphasized  as  indicating  either  the  practise  of  cremation  or  a  great  antiquity 
for  the  graves.  Evidences  of  cremation,  however,  are  lacking.  That  it  would 
require  a  long  period  of  time  for  bones  buried  in  a  region  of  great  rainfall  to 
decay  completely,  is  by  no  means  certain.  Dr.  Merritt  points  out  that  a  black 
loamy  earth  marked  the  position  of  the  body  in  all  the  graves  at  Bugavita.  No 
human  hair  was  found  in  these,  but  the  enamel  of  a  molar  tooth,  as  well  as 
human  hair,  were  obtained  from  neighboring  cemeteries.  In  the  double  burial 
noted  by  Bateman,  "  there  were  no  signs  of  human  remains, —  only  the  black  loamy 
earth  showing  the  original  position  of  the  body."  He  also  mentions  having  seen, 
"  taken  from  a  grave  of  the  quadrangular  kind,  three  teeth,  a  small  piece  of  bone, 
apparently  a  rib,  and  three  pieces  of  the  skull  of  a  human  body,  but  so  fragile 
that  they  crumbled  at  the  touch  and  by  exposure."  Seemann  states  that  human 
skeletons  are  sometimes  met  with  in  the  graves,  but  that  they  crumble  into  dust 
on  being  removed.  McNiel,  who  opened  more  than  a  thousand  graves,  found 
human  bones  in  some  of  them,  but  did  not  succeed  in  obtaining  a  single  skull 
even  approximately  complete.  The  disposition  of  the  human  bones  in  the  graves 
was  such  as  to  convince  Pinart  that  the  bones  were  buried  after  the  flesh  had 
been  removed.  Another  peculiarity  recorded  by  the  latter  author  is  that  gold, 
when  present,  was  always  associated  with  the  bones,  whether  the  latter  were 
placed  near  the  walls  of  the  vault  or  in  adjacent  niches,  while  the  artifacts  of 
stone  and  bone  were  not. 

De  Zeltner  states  that  very  friable  fragments  of  human  remains  are  sometimes 
found  in  graves  of  the  second,  fourth  and  fifth  types,  as  described  by  him,  but 
no  trace  of  human  bones  is  found  in  the  other  three  types.  He  secured  one 
cranium  sufficiently  well  preserved  to  be  cast.  A  copy  of  this  in  plaster  was 
presented  to  the  American  Ethnological  Society  at  its  April  meeting  in  1860,  by 
Dr.  J.  P.  Kluge  and  Mr.  William  Nelson l  of  Panama.  The  cranium  is  described 
as  "  entire  except  the  upper  jaw,  small  for  an  adult,  and  rather  broad  in  the 
middle  and  flat  behind."  All  efforts  to  trace  this  cast  or  its  original  have  proved 
unavailing. 

Another  Chiriquian  human  skull,  collected  by  Dr.  E.  Menard,2  a  physician  in 
the  employ  of  the  French  Panama  Canal  Company,  was  given  by  him  in  1890 
to  the  School  of  Anthropology,  Paris.  It  is  described  as  having  "  un  front  bas 
et  retreci  mais  droit,  avec  bosse  frontale  saillante,  un  indice  cephalique.  78.5." 
Dr.  Menard  also  speaks  of  an  artificial  deformation  that  would  seem  to  indicate 
some  connection  with  ancient  Peruvian  skulls. 

People. —  The  discoverers  of  the  Isthmus  all  testify  to  its  relatively  large  Indian 
population.  A  century  later  (1606),  the  missionary,  Melchor  Hernandez,  found  as 
many  as  six  distinct  languages  spoken  on  and  near  the  shores  of  the  Chiriqui 
lagoon  by  ten  different  tribes,  as  follows :  Borisques,  Bugabaes,  Chagres,  Cothos, 

1  Hist,  mag.,  IX,  158,  1865. 

2  Les  poteries  des  sepultures  indiennes  du  Chiriqui ;  chez  Pichat  a  Chatillon-sur-Seine,  1881. 


PEOPLE.  15 

Dolegas,  Dorasques,  Dures,  Utelaes,  Zaribas  and  Zunes.  The  reduction  has  gone 
steadily  on  since  the  advent  of  the  European.  According  to  Gabb, l  "  A  strange 
fatality  seems  to  hang  over  these  Isthmian  Indians.  Even  when  not  brought  into 
contact  with  the  debasing  influences  of  civilization,  the  tribes  are  visibly  dimin- 
ishing." To  other  obliterating  agencies  must  be  added  intermixture  with  the 
blood  of  both  whites  and  blacks. 

Brinton2    draws    the    ethnographic    boundary    line    between    North    and   South 
America  at  the  mountain  chain  which  separates  Nicaragua  from  Costa  Rica,  and 
the   head-waters   of  the   Rio  Frio   from   those   of  the   more  southern  and  eastern 
streams.     "  Beyond  it  we  come  upon  tribes  whose  linguistic  affinities  point  towards 
the  southern  continent."     Fernandez  states  that  at  the  time  of  the  discovery  the 
outposts  of  Nahuatl  civilization  did  not  reach  farther  south  than  Chiriqui  lagoon, 
while  Uhle   places  the  northern  limit  of  Peruvian  culture  at  Pasto.     The  region 
between   includes  the  present  republics  of  Colombia  and  Panama,  and  forms   a 
linguistic  and   archeological  barrier  between  the  great  civilizations  of  Mexico  and 
Peru.     In  this  culture  zone  the  dominant  factor  is  Chibchan.     The  original  home 
of  the  Chibchas  was  on  the  plains  of  Bogota  and  Tunja.     Brinton  believes  their 
language  to  have  been  "  much  more  widely  disseminated  throughout  New  Granada 
at  the  time  of  the  discovery  than  later  writers  have  appreciated."     Dr.  Max  Uhle's 3 
important  researches  serve  to   confirm   this  view.     The  dialectic  evidence  points 
to  attrition  and  gradual  loss  of  the  original  form  as  one  proceeds  from  Colombia 
through  the  Isthmus  into  Costa  Rica,  making  it  clear  that  the  invasion  was  from 
South  America  into  North  America,    and   not   the   reverse.     Thus,    even  in  Costa 
Rica,  the  only  tribes  whose  language  shows  no  affinity  with  the  Chibcha  are  the 
Guetares  and  Orotinans,  both  belonging  to  the  Chapanec  linguistic  stock  of  Chia- 
pas,  and  the  Guatusos,  which,  judging  from  the  vocabularies  already  collected, 
are    an    independent   stock   related  neither  to  the  Nahuatl  nor  the  Chibcha.     As 
for  Panama,  the  only  possible  breaks  in  the  Chibcha  linguistic  chain  of  influence 
are  to   be  found  among  the  Cunas  or  Coibas,  who  at  the  time  of  the  discovery 
occupied  the  territory  from  the  Gulf  of  Darien  and  the  Atrato  river  on  the  east 
to  the  river  Chagres  on  the  west,  and  the  Changuina-Dorasque  stock  of  Chiriqui. 
Uhle  points  out  certain  verbal  similarities  between  the  Cuna  and  Chibcha,  while 
Pinart,   who   has  published   extensively   on   the  Cuna,   notes  affiliations    with   the 
Carib.     The   present  state  of  our  knowledge  would  not  warrant  its  classification 
with  either  of  these  linguistic  stocks. 

The  tribes  occupying  the  province  of  Chiriqui  in  recent  times  are  the  Guaymis 
and  Dorasques.  The  Guaymis  inhabit  both  slopes  of  the  Cordillera  and  are 
divided  into  three  sub-tribes,  each  speaking  a  distinct  dialect:  (1)  The  Muois,  of 
whom  only  three  were  living  in  1880,  (2)  the  Moves  or  Valientes,  and  (3)  Murires 
or  Sabaneros.  The  generic  name  Guaymi  is  from  the  Muoi  dialect  and  means  man. 

1  Wm.  M.  Gabb.     On  the  Indian  tribes  and  languages  of  Costa  Rica.     Proc.  Amer.  philos. 
soc.,  XIV,  491,  1875. 

2  D.  G.  Brinton.     The  American  race,  164,  1901. 

8  Verwandtschaften  und  Wanderungen  der  Tschibtscha.  C.  R.  Congres  intern,  des  Ameri- 
canistes,  466,  Berlin,  1888. 


16  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

Pinart  *  has  every  reason  to  believe  that  the  Guaymis  are  the  descendants  of 
the  race  that  constructed  the  ancient  huacals  from  which  our  Chiriquian  an- 
tiquities came.  They  have  a  tradition  to  the  effect  that  before  the  arrival  of  the 
Spaniards  and  even  for  a  certain  period  after  that  event,  they  manufactured  pot- 
tery, but  by  reason  of  the  greater  durability  of  the  iron  pots  and  the  ease  with 
which  they  could  be  procured,  the  art  of  pottery  making  was  lost  by  degrees. 
They  were  also  metal  workers  in  gold,  copper  and  their  alloys.  On  the  occasion 
of  Pinart's  visit  the  natives  still  possessed  a  number  of  gold  ornaments  which  they 
claimed  to  have  inherited  from  their  ancestors  and  which  differed  in  no  respect 
from  those  found  in  the  graves.  In  this  connection  it  is  of  inferest  to  recall  a 
similar  condition  of  affairs  among  the  Tiribis  of  Costa  Rica,  as  related  by  Gabb : 8 
"  The  chiefs  on  great  occasions  wear  gold  ornaments,  similar  to  those  now  found 
in  the  Huacas  of  Chiriqui.  Whether  these  have  been  recovered  from  some  of 
these  graves,  or  whether  they  have  been  handed  down  from  time  immemorial,  is 
not  known."  Of  the  four  or  five  seen  by  Gabb,  two  belonged  to  the  reigning 
chief  and  three  represented  birds,  one  of  which  was  double,  no  doubt  similar  to 
those  in  the  Keith  collection,  recently  found  at  Mercedes,  Costa  Rica. 

Pinart  describes  the  Guaymis  as  living  in  separate  houses,  the  walls  of  which 
are  of  bamboo  or  reeds,  and  the  roofs,  of  palm  leaves.  The  interior  is  divided 
into  small  rooms  by  bamboo  partitions,  each  member  of  the  family  having  his 
own  room.  The  furnishings  are  simple  -  -  a  few  rude  hammocks  and  wooden 
blocks  for  seats  (see  fig.  22).  Kitchen  utensils  include  metal  pots  of  European 
origin,  a  flat  stone  serving  as  a  species  of  metate  on  which  to  grind  cocoa  and 
maize,  calabash  plates  and  saucers,  gourds  for  conserving  water,  a  wooden  mortar 
and  pestle  for  decorticating  rice  and  other  grains.  Their  arms  consist  of  bows  and 
arrows,  lances  with  points  of  hard  wood,  also  a  lance  with  several  points  for 
fishing,  and  the  inevitable  machete.  Formerly  they  used  a  small  shield  made  of 
tapir  skin. 

Their  costume  is  simple.  They  paint  the  body.  The  male  wears  a  simple 
loin  cloth  made  of  bark  (tiumf) ;  the  female,  a  band  somewhat  larger  that  descends 
to  the  knees.  When  it  rains,  both  sexes  wear  a  large  sleeveless  mantle  of  bark 
reaching  below  the  knees.  Ornaments  include  necklaces  and  bracelets  of  animal 
teeth  or  of  glass.  During  the  grand  ceremonies  the  chiefs  wear  diadems  com- 
posed of  showy  feathers,  those  of  the  quetzal  being  the  most  esteemed.  Each  com- 
munity recognizes  a  hereditary  chief. 

According  to  Pinart,  the  Guaymis  are  of  small  stature  with  a  tendency  to  cor- 
pulence, and  of  a  robust  constitution ;  color,  yellowish  brown  to  dark  brown ;  hair 
black,  stiff  and  glossy ;  the  head  large  in  proportion  to  the  body,  long  oval ;  the 
face  particularly  flat  and  broad  between  the  zygomatic  arches ;  nose  prominent, 
often  thick  at  the  base ;  mouth  large  and  lips  thick ;  beard  almost  wanting  and 
the  body  devoid  of  hair.  The  same  author  speaks  of  artificial  deformations  of 
the  teeth,  the  canines  being  faceted  so  as  to  resemble  saw-teeth  ;  also  the  ab- 

1  A.  L.  Pinart.     Bocas   del  Toro,  Valle  Miranda  (avec  carte  dans  le  texte).     Bull.  Soc.  de 
geogr.  de  Paris,  7=  ser.,  VI,  433,  1885. 

2  Op.  cit.,  519. 


PEOPLE.  17 

sence  among  women  of  the  upper  left  canine,  which  is  knocked  out  at  the  time 
of  the  first  menstruation. 

Among  the  Guaymis  are  found  manifest  traces  of  totemism,  each  tribe,  family 
and  individual  having  its  tutelary  animal.  Like  American  Indians  in  general,  they 
believe  in  spirits  and  animism,  employing  magicians  (siikia)  and  making  offerings 
to  appease  evil  spirits.  The  dead  are  carried  far  into  the  forest  and  placed  on 
a  scaffold.  After  a  year  has  elapsed  an  official  goes  to  the  place,  cleans  the 
bones,  binds  them  in  a  package  and  transports  them  to  the  family  sepulcher. 
Formerly  they  deposited  with  the  dead  all  his  possessions.  The  Talamancas  of 
Costa  Rica  dispose  of  their  dead  in  a  similar  manner. 

The  Changuina-Dorasque  stock  formerly  occupied  the  greater  part  of  the  prov- 
ince of  Chiriqui.  By  the  middle  of  the  XVIlIth  century  their  limits  were  con- 
fined to  the  plains  of  Chiriqui.  In  1887  their  number  was  reduced  to  thirteen 
or  fourteen  persons  of  pure  blood,  living  chiefly  near  Bugaba,  Caldera  and  Dolega 
(see  map).  As  to  the  Dorasque  tribe  proper,  the  last  member  died  between  the 
years  1882  and  1887.  They  were  said  to  be  lighter  in  color  than  the  Guaymis 
and  also  less  cultured. 

As  between  the  Guaymis  and  the  Dorasques.  Pinart  believes  the  former  to  be 
the  descendants  of  the  ancient  Chiriquians.  Dr.  Berendt1  would  give  the  credit 
to  the  Cunas  or  Coibas.  but  as  he  apparently  included  the  Guaymis  among  the 
Coibas,  his  conclusion  does  not  differ  materially  from  that  of  Pinart.  Linguistic- 
ally the  Guaymis  are  more  closely  related  to  the  Talamancas,  the  Terrabas  and 
the  Borucas  (or  Bruncas)  than  to  the  Dorasques.  Curiously  enough  the  antiquities 
from  Boruca  and  Terraba  have  many  points  in  common  with  those  from  Chiriqui. 
That  there  was  intercourse  between  the  territory  of  the  Talamancas  (Mercedes) 
and  Chiriqui,  is  also  attested  by  archeological  evidence.  The  latter  therefore 
supports  the  claim  of  the  Guaymis,  who  with  the  Borucas,  Terrabas  and  Talamancas 
belong  to  the  Chibcha  linguistic  stock. 

If.  then,  the  language  was  influenced  by  migrations  from  the  south,  did  these 
also  bring  the  dominant  forces  that  molded  the  art  of  Chiriqui?  Pinart  thinks 
not,  but  that  the  ancient  art  of  Chiriqui  was  influenced  more  by  Mexico  than  by 
the  South.  The  northern  impulse  might  have  been  transmitted  along  the  Pacific 
Coast.  It  could  have  also  come  down  the  Atlantic  side  ;  for  when  in  1564,  Coronado 
subdued  the  Guaymis  and  Talamancas,  he  also  encountered,  in  the  valley  of  Coaza 
(Robalo  ?),  a  stream  that  flows  into  the  Almirante  bay,  the  Chichimecs,  now  extinct. 
In  order  to  communicate  with  the  chief  of  this  tribe  it  was  necessary  to  employ 
a  Mexican  interpreter.  The  art  of  Nicoya,  of  eastern  Costa  Rica  and  of  Chiriqui, 
is  certainly  superior  to  that  of  the  Isthmian  provinces  to  the  east  of  Chiriqui. 

1  Dr.  C.  H.  Berendt.  Geographical  distribution  of  the  ancient  Central  American  civiliza- 
tion. Jour.  Amer.  geogr.  soc.,  VIII,  132,  1876. 


MEMOIRS  CONN.  ACAU.,  Vol.  III. 


MEM.  CONN.  ACAD.,  Vol.  Ill 


MAP 


PROVINCE  OF  CHIRIQUI 


s       ° «>  3,°  3.Q  4,o  s,°A///e.r 


THE  COLLECTIONS. 

The  Chiriquian  antiquities  belonging  to  Yale  University  number  several  thousand 
specimens.  The  choicest  of  these  were  collected  from  1859-1866  by  M.  A.  de 
Zeltner,1  French  Consul  at  Panama,  whose  good  fortune  it  was  to  be  living  there 
at  the  time  of  the  first  discoveries.  The  major  part  of  the  collection,  however, 
was  made  by  Mr.  J.  A.  McNiel  a  few  years  later.  The  de  Zeltner  collection  was 
bought  in  1872,  after  it  had  been  shipped  to  Paris  and  a  part  of  it  already  for- 
warded to  Heidelberg,  where  de  Zeltner  was  soon  to  go  as  his  country's  repre- 
sentative in  the  consular  service.  The  purchase  was  made  by  Professor  Othniel 
C.  Marsh,  who  also  bought  the  McNiel  collection  in  1878.  These  collections 
include  gold  objects,  stone  implements,  metates,  stools  of  stone  and  earthenware, 
and  a  series  of  pottery  representing  various  kinds  of  ware  and  unsurpassed  in  the 
number  of  its  rare  and  valuable  specimens. 

These  treasures  have  been  in  storage  for  about  thirty  years,  there  being  no 
facilities  for  their  exhibition,  and  only  recently  have  they  been  accessible  for  pur- 
poses of  study.  They  form  the  central  feature  of  one  of  the  three  principal  col- 
lections given  to  the  University  by  Professor  Marsh  in  1898,  viz.,  the  "  Collection 
of  American  Archeology  and  Ethnology." 3 

Of  the  priority  of  stone  art  over  ceramic  art,  there  can  be  no  question,  and  it 
is  also  generally  admitted  that  the  manufacture  of  pottery  antedates  a  knowledge 
of  the  use  of  metals.  In  discussing  the  three  classes  of  artifacts,  therefore,  it  has 
been  thought  best  to  follow  the  foregoing  sequence,  although  no  attempt  is  here 
made  to  fix  the  relative  age  of  individual  specimens,  which  would  presuppose  a 
much  more  thorough  knowledge  of  the  various  types  of  Chiriquian  graves,  as  well 
as  of  the  character  of  their  contents  and  that  of  the  surrounding  soil.  It  may 
be  worth  while,  however,  to  call  attention  to  certain  phylogenetic  relations  which 
are  traceable,  not  only  through  the  various  groups  of  a  given  class,  but  which  also 
bind  the  product  of  the  stone  worker  to  that  of  the  potter  and  the  artificer  in  metal. 

That  these  phylogenetic  ties  lie  between  stone  and  pottery  on  the  one  hand 
and  pottery  and  metal  objects  on  the  other,  rather  than  between  stone  on  the 
one  hand  and  metal  on  the  other,  is  significant  as  bearing  on  the  general  phylo- 
genetic trend  in  the  development  of  Chiriquian  art  as  a  whole.  The  subject 
will  be  discussed  further  in  describing  the  various  specimens  in  the  three  classes 
that  best  illustrate  the  influence  of  technique  in  one  medium  over  that  in  another. 
It  is  also  significant  that  these  ties  which  bind  the  art  of  all  three  classes 
together  are  centered  in  the  group  of  unpainted  pottery,  called  by  Holmes  "  terra 
cotta"  or  "biscuit"  ware,  a  group  which  probably  stands  for  an  early  stage  in 
the  development  of  Isthmian  ceramic  art.  The  question  of  the  relative  ages  of 
the  various  groups  of  potterv  will  be  taken  up  in  more  detail  when  treating  of 
the  "  biscuit "  ware,  or  armadillo  ware  as  I  prefer  to  call  it. 

1  Note  sur  les  sepultures  indiennes  du  departement  de  Chiriqui  (Etat  de  Panama),  Panama,  1866. 

2  Yale  alumni  weekly,  VII,  Jan.  20,  1898. 


STONE. 

With  the  exception  of  its  architectural  manifestations,  which  are  relatively  in- 
significant, the  stone  art  of  Chiriqui  compares  favorably  with  that  of  the  regions 
either  to  the  northwest  or  southeast.  It  includes  arrow-points,  spear-points,  celts, 
polishing  stones,  pestles,  metates  or  mealing  stones,  stools,  images,  ornaments, 
petroglyphs  and  sculptured  columns. 

McNiel  states  that  stone  axes  and  other  implements  were  found  in  every  local- 
ity visited— from  Gualaca  east  of  David  to  Divala  on  the  west  and  El  Banco 
and  Jacii  on  the  north.  As  to  their  mode  of  occurrence,  he  says :  "  I  have  not 
been  able  to  discover  any  particular  difference  in  the  class  and  style  of  graves 
in  which  the  stone  implements  were  found.  Having  obtained  them  from  every 
locality  visited,  I  can  say  that  the  majority  of  those  in  my  collection  are  from 
Bugavita.  But  as  a  large  portion  of  the  pottery  is  also  from  that  locality,  I  have 
not  thought  the  fact  important.  The  three  or  four  large  stone  axes  of  a  different 
form  are  from  the  extreme  easterly  limit  of  my  work,  Gualaca.  These  were  brought 
in  to  me  by  my  assistant,  with  about  the  same  number  of  cantaros  (pottery  vessels). 

4>  The  stone  images,  statuettes,  etc.,  are  less  frequently  found ;  and  are  gener- 
ally found  either  on  the  surface,  above  the  graves  or  a  short  distance  below. 
As  I  have  no  practical  knowledge  of  my  own  in  regard  to  these,  having  at  no 
time  been  present  when  any  of  those  in  my  collection  were  found,  I  can  only 
state  from  information,  which  I  believe  to  be  in  the  main  reliable.  My  inquiries 
in  that  direction  also  elicited  the  reply  that  where  stone  images  of  any  kind  were 
found  it  was  looked  upon  as  indicating  a  rich  grave  in  pottery  and  probably  gold." 

Arrow-points. — The  distinguishing  charac- 
ters of  Chiriquian  arrow-points  first  attracted 
the  attention  of  archeologists  years  ago.  As 
early  as  1862,  Dr.  Merritt l  "  spoke  of  the 
arrow-heads  found  by  him  in  the  Chiriqui 
graves  differing  from  all  others  he  had  seen ; 
those  from  Chiriqui  being  pyramidal,  having 
four  cutting  edges  converging  to  the  point. 
Some  of  them  appear  to  have  been  designed 
to  set  into  the  end  of  the  shaft  without  fasten- 
in  order  to  remain  in  the  wound." 


mg, 


Figs.    1—3.  —  Arrow-points. 


The  fact  is  that  these  rudely  shaped  arrow- 
points  are  almost  always  triangular  in  section.  The  flat  nuclear  or  inner  surface, 
slightly  concave  longitudinally,  is  left  untouched,  while  the  other  two  surfaces 
are  chipped  irregularly,  producing  toothed  edges,  especially  those  bordering  the 
nuclear  surface  (fig.  2).  A  few  have  a  fourth  surface  roughly  parallel  to  the 
inner  surface,  but  narrower,  and  are  therefore  trapezoidal  in  section  (fig.  3). 


1  Dr.  J.  King  Merritt.     Report  of  Amer.  ethnol.  soc.  meeting.     Hist,  mag.,  VI,  154,  1862. 


22 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


The  stems  are  triangular  in  section  and  slope  toward  the  base,  lending  weight 
to  Dr.  Merritt's  supposition  that  some  might  have  been  so  designed  as  to  become 
free  from  the  shaft  and  remain  in  the  wound.  The  material  is  a  flinty  jasper. 

The  only  specimen  in  the  collection  that  looks  like  true  flint  is  given  in  figure  1. 
It  is  lighter  in  color  than  the  two  arrow-points,  and  different  in  shape,  there 
being  no  well-defined  stem.  It  may  have  been  a  goldsmith's  tool  rather  than  an 
arrow-point.  A  similar  specimen  was  figured  by  L.  Simonin '  as  coming  from 
the  tomb  of  an  ancient  Chiriquian  goldsmith.  Traces  of  gold  were  left  on  its 
lateral  margins,  as  if  it  had  served  as  a  touchstone.  The  grave  was  opened  by 
M.  J.  Thevenet  in  1859,  who  also  found  in  it  a  celt  similar  to  figure  c  (PI.  II), 
two  polishing  stones,  etc.  These  were  all  said  to  have  been  of  flint,  which  is 

probably  an  error,  the  possible  ex- 
ception being  the  one  with  traces  of 
gold.  One  of  the  most  interesting 
stone  implements  in  the  Yale  collec- 
tion is  a  sub-cubical  pestle-like  ob- 
ject, polished  over  its  entire  surface 
and  showing  almost  everywhere  traces 
of  gold  (see  fig.  33). 

Spear-points. — The  implements  that 
may  be  classed  as  spear-points  are 
made  of  a  velvet-black  flinty  quartz 
resembling  basanite.  In  workmanship 
they  are  not  unlike  the  arrow-points, 
the  differences  being  chiefly  depen- 
dent on  the  character  of  the  materials 
employed  and  the  size  of  the  flakes. 
The  edges  also  are  not  so  serrated. 
The  stem  is  insignificant  in  com- 
parison with  the  length  of  the  blade. 
The  inner  surface  is  often  chipped 
at  the  point  and  for  the  length  of 
the  stem  (figs.  4  and  5).  The  point 
is  sometimes  ground  and  polished. 
Celts. — While  Chiriquian  arrow-points  and  spear-heads  are  very  few  in  number, 
celts  have  been  found  in  comparatively  large  quantities.  They  may  be  grouped 
into  several  well-defined  types,  for  the  most  part  hatchets  and  chisels.  The  adze 
and  gouge  forms  are  practically  unknown.  The  same  may  be  said  of  the  grooved 
celt,  there  being  but  one  in  the  United  States  National  Museum  and  one  in  the 
Yale  Museum. 

The  same  variety  and  homogeneity  that  characterize  the  ceramic  art  of  Chiriqui 
are  also  stamped  upon  the  stone  art.  It  is  almost  wholly  the  product  of  a  small 
compact  culture  area  and  an  uninterrupted  culture  period.  The  workmen  were 
limited  to  only  a  few  varieties  of  stone,  and  these  were  not  of  a  kind  to  encourage 


Figs.  4,  5. — Spear-points.   '/' 


1  La  vie  souterraine  ou  les  mines  et  les  mineurs,  486,  Paris  (L.  Hachette),  1867. 


CELTS.  23 

a  high  degree  of  development  in  the  art  of  chipping.  True  flint  and  obsidian, 
for  example,  seem  to  have  been  practically  unknown. 

The  technique  included  chipping,  pecking,  grinding  and  polishing.  The  col- 
lection of  celts  comprises  specimens  in  various  stages  of  development,  from  which 
the  processes  of  working  and  the  resultant  shapes  may  be  determined.  These 
seem  to  vary  in  a  measure  with  the  character  of  the  material.  For  example,  a 
certain  type  of  celt  is  usually  made  of  a  black  fine-grained  volcanic  tufa,  ranging 
in  hardness  from  that  of  hornfels  on  the  one  hand  to  basanite  or  touchstone  on 
the  other.  The  implements  of  this  group  are  always  chipped  and  not  pecked. 
On  the  other  hand  those  made  of  silicified  volcanic  ash  and  of  andesitic  lava  take 
other  forms  and  are  usually  pecked  and  not  chipped. 

The  chipped  types  of  celt  are  shown  in  Plate  II  (figs,  a  and  h).  The  compara- 
tively slender  and  graceful  shape  in  figure  a  is  due  entirely  to  chipping,  the  only 
polished  areas  being  the  facets  that  meet  to  form  the  edge.  The  materials  of  this 
group  are  the  black  fine-grained  volcanic  tufas  resembling  hornfels  and  basanite. 
The  surface  of  the  specimens  is  covered  uniformly  with  a  whitish  patina.  In 
figure  h  the  polishing  reaches  almost  the  entire  length  of  the  blade  and  the  two 
polished  faces  form  each  a  single  convex  surface.  Celts  similar  in  shape  to  these 
were  found  by  Hartman  in  the  highland  plains  of  Costa  Rica,  Province  of  Cartago. 

Sometimes  the  shape  is  varied  by  the  production  of  three  facets,  the  bevels 
that  produce  the  edge,  however,  never  reaching  more  than  about  half-way  to  the 
base  (fig.  c).  A  specimen  resembling  this  was  described  by  Simonin  *  as  being 
found  in  the  grave  of  an  ancient  Chiriquian  goldsmith. 

Early  stages  in  the  pecked  type  of  implement  are  reproduced  in  figures  d  and  e. 
The  larger  looks  as  if  it  had  been  made  from  an  oblong,  flattened,  water-worn 
pebble,  tapering  toward  one  end.  The  latter  becomes  the  base  or  pole  (called 
by  Sir  John  Evans,  "  butt-end  ").  The  polishing  extends  backward  along  a  median 
line  to  the  very  tip  of  the  pole,  a  feature  which  distinguishes  the  pecked  type 
from  the  polished  type.  The  lateral  facets  are  left  unpolished.  In  the  smaller 
specimen  the  polished  bevels  at  the  edge  extend  but  a  short  distance  toward  the 
pole,  a  single  exception  proving  the  rule. 

Figure  /  is  a  typical  example.  The  lines  are  all  gracefully  wrought  out,  those 
bounding  the  polished  facets  converging  artistically  and  extending  from  the  corners 
of  the  cutting  edge  to  the  very  tip  of  the  pole.  The  lateral  facets  are  coarsely 
ground.  These  also  are  sometimes  polished  as  in  figure  <?,  which  represents  a 
high  degree  of  artistic  skill  and  finish. 

Two  variants  from  the  general  type  are  given  in  figures  b  and  i.  In  the  former 
there  is  a  marked  constriction  in  the  blade  immediately  above  the  corners  of  the 
edge.  In  the  latter  the  edge  is  comparatively  straight  and  long.  The  length, 
however,  has  been  somewhat  reduced  by  polishing  off  the  corners. 

Figure  6  represents  a  class  with  rounded,  even  cylindrical,  section  and  thick 
blunt  pole.  Specimens  of  this  group  seem  to  have  been  shaped  by  pecking, 
grinding  and  polishing.  In  some  examples  the  entire  surface  is  polished.  The 
material  is  generally  a  compact  volcanic  tufa,  reddish  to  black  in  color. 

1  Op.  cit.,  fig.  139. 


24 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


There  is  a  small  group  of  chipped  and  polished  implements  including  alike  the 
largest  and  smallest  celts  in  the  collection.  The  former  are  made  of  andesitic 
lava  and  all  come  from  Gualaca.  One  of  the  handsomest  is  reproduced  in  figure  7. 


Fig.   6. 

Fig.  6.  —  Cylindrical  celt  with 
thick  blunt  pole.  '/> 

Fig.  7. — Large  polished  celt 
with  pointed  chipped  pole  ; 
from  Gualaca.  '/« 


Fig.  7- 


Its  length  is  23.2  centimeters  and  greatest  breadth  11.5  centimeters.  The  broad  edge 
forms  a  sweeping  curve,  the  ends  of  which  are  carried  along  the  lateral  margins  more 
than  half  the  length  of  the  implement.  The  pointed  pole  is  not 
polished.  This  type  is  not  constant ;  for  as  the  lateral  margins  become 
straighter,  the  curve  of  the  edge  flattens  somewhat,  tending  to 
produce  more  or  less  triangular  outlines.  The  diminutive  celts  of 
which  figure  8  is  an  example  take  the  latter  form.  They  are 
chipped  from  a  dark  compact  material,  probably  silicified  ash  or 
tuff. 

Chisels,  which  are  relatively  rare,  are  characterized  by  being 
broadest  at  the  base  and  tapering  gradually  to  the  edge.  The 
materials  used  are  porphyritic  andesite,  tuff,  and  a  black  volcanic 
tufa  resembling  hornfels  and  basanite. 

chipped  pole.    '/«      In  figure  9,  the  base  or  pole  is  chipped  only.     The  blade  is  finely 
polished  and  faceted  so  as  to  produce  an  octagonal  section.     The 
faceting  of  the  lateral  margins  is  of  rare  occurrence  among  Chiriquian  stone  imple- 
ments.    Of  similar  workmanship  is  the  chisel  shown  in  figure  10,  except  that  the 


CELTS. 


25 


marginal  facets  are  more  pronounced  and  the  bevel  at  the  edge  is  not  continued 
to  form  a  median  facet.     This  specimen,  therefore,  is  hexagonal  in  section. 

A   handsome  implement  deviating  in  form  from  both  of  the  foregoing  is  given 
in  figure  11.     A  distinct  shoulder  separates  the  shapely,  but  unpolished,   pointed 


I 


Fig.  9. 


Fig.  10. 


Fig.  ii. 


Fig.   9- — Octagonal    celt    with    polished    and    faceted 

blade  and  chipped  pole.     */• 
Fig.  10. — Polished      hexagonal     chisel     with     chipped 

base.     '/• 


Fig.    II. — Polished      cylindrical 

shoulder.     */> 
Fig.    12. — Polished  and  chipped  chisel.     '/« 


Fig.  12. 
celt      with     distinct 


pole  from  the  polished  cylindrical  blade.  The  only  facets  are  the  bevels  at  the 
edge.  These  tools  compare  favorably  with  those  of  the  same  kind  found  in  any 
part  of  the  world. 

Some  of  the  chisels  are  made  of  the  same  material  as  the  hatchets  reproduced 
in  figures  a,  h  and  c  (PI.  II),  a  black  fine-grained  volcanic  tufa  weathering  white 
on  the  surface.  Figure  12  is  an  example.  Its  lateral  margins  are  not  faceted  and 
the  relative  shortness  of  the  blade  may  be  due  to  repeated  resharpening  of  the 
edge. 

The  only  grooved  celt  in  the  collection  is  reproduced  in  figure  13.  It  is  of 
pale  greenish  gray  quartzite.  The  groove  is  continuous,  but  shallow,  and  very 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  4 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


near  the  base  of  the  implement.  Holmes  figures  a  single  grooved  celt  from 
Chiriqui,  which  is,  however,  different  in  type  from  this  one.  Both  may  have  been 
importations. 

Polishing  Stones. — The  uses  of  the  potter's  polishing  stone 
are  well  known.  For  such  purposes  preference  was  given 
to  pebbles  of  jasper  (figs.  14  and  15)  and  chalcedony  (fig.  16). 
The  entire  surface  of  some  stones  is  completely  altered  by 
long-continued  wear,  while  others  are  only  slightly  faceted. 
Metates. — The  traffic  in  ancient  mealing  stones  by  those 
inhabiting  Chiriqui  during  the  historic  period  has  reduced 
the  original  number  materially.  In  a  letter  to  Professor  Marsh, 
McNiel  leads  one  to  infer  that  these  hand-mills  were  found 
either  on  the  surface  above  the  graves  or  immediately  below 
the  surface,  which  made  their  subsequent  removal  by  the 
natives  comparatively  easy.  Dr.  J.  King  Merritt  speaks  of 
the  corn-grinders  as  "  frequently  occurring  in  the  huacas." 
We  have  more  definite  knowledge  of  the  disposition  of  me- 
tates  in  the  ancient  grave's  of  the  peninsula  of  Nicoya,  Costa 
Rica,  where  Hartman  l  found  as  many  as  three  metates  in  a 
single  bunched  burial.  In  two  cases  the  metate  was  placed 
immediately  over  a  skull,  thus  protecting  it  from  the  pressure 
of  the  soil.  This  was  in  the  burial  ground  at  Las  Guacas, 
where  as  many  as  two  thousand  metates  were  found,  a  number 
far  exceeding  that  from  any  single  locality  in  Panama. 

Chiriquian  metates  are  not  only  less  numerous  than  those  of  Nicoya,  but  are 
also  distinctly  different  in  aspect.  They  are  made  to  assume  animal  forms,  i.  e., 
each  specimen  represents  a  complete  zoomorphic  unit,  the  subject  chosen  being 
the  jaguar.  In  these  respects  they  resemble  the  metates  of  the  ancient  Guetares 
culture  of  the  Costa  Rican  highlands.  On  the  other  hand  the  metates  of  the 
Nicoyan  peninsula  are  three-legged  and  are  more  nearly  related  to  Mexican  than 


13.— Grooved  celt.     '/' 


Fig.  14.  Fig.  15.  Fig.  16. 

Figs.  14,    15.— Jasper  polishing  stones.     '/'  Fig.  1 6. —Chalcedony  polishing  stone.     '/« 

1  C.  V.  Hartman.     Archeological  researches  on  the  Pacific  coast   of  Costa  Rica.     Mem. 
Carnegie  museum,  III,  no.  1,  16  and  PI.  XLVII,  1907. 


METATES.  27 

Chiriquian  culture.  While  many  of  these  are  richly  ornamented  with  biomorphic 
motives,  the  specimen  as  a  whole  is  not  a  complete  zoomorphic  unit.  The  shape 
of  the  plate  is  also  different,  being  flat  in  the  direction  of  the  transverse  diameter 
and  concave  longitudinally.  It  is  also  approximately  rectangular  in  outline. 

The  metates  of  Chiriqui  are  made  of  a  volcanic  rock,  chiefly  andesitic  lava. 
The  diversity  of  form  and  finish  led  Holmes  to  suggest  that  the  metates  of  Chiriqui 
might  "represent  distinct  peoples  or  different  grades  of  culture."  Nothing  could 
be  more  homogeneous  than  the  large  group  representing  the  jaguar.  That  this 
is  genetically  related  to  the  more  primitive  types,  there  can  be  little  question. 


Fig.    17. — Mctate   with  three  legs,  and  hand  stone.     '/< 

The  simplest  kind  of  mealing  stone  is  a  flattened  river  boulder  such  as  is  still 
in  use  among  the  Talamanca  Indians  of  Costa  Rica  and  Chiriqui.  In  order  to 
lessen  the  weight  of  the  metate  and  render  it  more  easily  transportable,  as  much 
as  possible  of  the  base  was  removed.  This  was  accomplished  in  two  ways,  viz., 
(1)  by  hollowing  out  the  base  and  reducing  its  external  dimensions;  and  (2)  by 
cutting  away  all  but  three  points  of  contact — the  smallest  number  that  will  give 
stability.  From  the  former  were  developed  not  only  the  zoomorphic  types  of 
metate,  but  also  the  so-called  stools.  The  tripod  type  was  not  further  elaborated 
in  Chiriqui,  but  reached  a  high  state  of  development  in  the  province  of  Nicoya, 
Costa  Rica.  Only  two  examples  of  this  type  are  illustrated.  The  rubbing  surface 
of  one  of  these  (fig.  17)  is  an  elongated  oval  and  concave  in  the  direction  of  both 
its  length  and  breadth.  The  rim  is  chipped  away  at  the  end  over  the  unpaired 
leg.  One  of  the  sub-cylindrical  rubbing  stones  exactly  fits  this  metate.  Both  are 
of  the  same  material,  but  unfortunately  the  collector's  notes  do  not  reveal  whether 
they  were  found  together.  The  grinding  surface  of  the  other  three-legged  metate, 
figure  18,  is  quite  different  in  shape,  being  concave  in  the  direction  of  its  length 
only  and  flat  transversely,  thus  belonging  very  distinctly  to  the  Nicoyan  type.  A 
rim  proper  does  not  exist,  but  is  suggested  by  an  incised  line  near  the  margin. 
The  lateral  margins  are  slightly  concave,  while  the  margins  at  the  ends  are 
markedly  convex.  The  under  surface  is  left  in  the  rough,  and  the  three  legs  are 
very  short.  This  specimen  is  from  Gualaca. 

The  prototype  of  practically  all  the  Chiriquian  forms  of  metate  as  well  as  of 
stool  is  to  be  found  in  figure  19.  The  shape  of  the  top  is  intermediate  between 
oblong  and  oval.  The  dishing  or  hollowing  out  is  very  slight  and  the  rim  low. 
The  base  is  cut  away  on  all  sides  and  deeply  excavated  in  the  bottom,  leaving 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


the  dish-shaped  plate   to  rest  on   a  hollow  stand  that  is  somewhat  larger  at  the 
bottom  than  at  the  top. 

The  hollow  stand  could  be  made   still  lighter  by  cutting  windows  in  its  sides 
and  ends.    This  is  what  is  done  in  figure  20,  which  represents  a  metate  of  nearly  the 

same  size  and  shape 
as  the  foregoing.  The 
outlines  are  a  little 
more  nearly  rectan- 
gular. This  is  partic- 
ularly true  of  the 
stand,  which  is  also 
smaller  at  the  bottom 
than  at  the  top.  There 
are  eight  large  open- 
ings, three  on  a  side 
and  one  at  either  end. 
The  plate  at  the  top 
has  a  low  rim  and  is 
thick  enough  at  the 
margins  to  admit  of 
a  peripheral  incised 
ornament,  consisting 
of  two  parallel  hori- 
zontal lines  connected 
at  short  intervals  by 
transverse  lines.  We 
have  in  this  metate 
all  the  essential  con- 
structional features  to 
be  found  in  the  so- 
called  stools,  except 
that  the  latter  have 
a  circular  top  and 
stand  instead  of  oval 
to  rectangular  ones. 
The  metate  shown 
in  figure  21  is  the  gift 
of  Mr.  Edwin  Lamson 
of  Summit,  New  Jer- 
sey. It  resembles 
the  preceding  in  its 
roughly  rectangular 
top  and  its  sloping  base.  But  the  latter  is  hollow  and  entirely  cut  away  at  the 
ends,  so  that  it  does  not  present  a  continuous  contact  support.  The  sides  are 
decorated  with  incised  panels.  The  design  is  a  faulted  meander  with  branching 
incised  lines  filling  the  angular  spaces.  This  metate  and  one  of  the  pottery  stools 


Fig.  19. 


Fig.   20. 

Fig.  1 8. — Three-legged  metate  of  the  Nicoyan  type;  from  Gualaca. 

Fig.  19. — Prototype  of  Chiriquian  metate.     */' 

Fig.  20. — Metate  with  openings  in  the  hollow  stand.     ''• 


METATES. 


29 


Fig.  21. 


(see  PI.  XLVI,  fig.  a)  form  a  connecting  link  between  mealing  stones  on  the  one 
hand  and  stools  on  the  other. 

In  the  Keith  collection  may  be 
seen  two  stone  metates  from  Mer- 
cedes. Costa  Rica,  like  the  Lamson 
specimen  in  shape,  only  they  are  not 
incised  on  the  sides.  The  wooden 
stools  or  seats  in  use  among  the 
present-day  Indians  of  Chiriqui  have 
approximately  the  same  shape,  as 
may  be  seen  by  consulting  figure  22. 
Dr.  J.  Walter  Fewkes  describes  a  re- 
markable clay  figurine  from  Santo 
Domingo  that  is  seated  on  a  metate- 
shaped  clay  stool.1 

By  cutting  a  block  from  the  center 
of  each  side  of  the  hollow  base,  as 
well  as  from  both  ends,  the  four- 
legged  type  of  metate  is  produced 
as  seen  in  figure  23.  Animal  heads 
are  placed  at  each  end  to  increase 
the  zoomorphic  effect.  In  the  present 
instance  eight  diminutive  heads  are 
added,  none  of  them  projecting  be- 
yond the  margin  of  the  plate. 

A   somewhat   similar   specimen   is 
reproduced  in  figure  24.    The  in-slop- 
ing legs  are  more  highly  finished.     Each  pair  represents  the  forelegs  of  an  animal. 
The  head  going  with  one  pair  is  that  of  the  jaguar;  the  other  looks  more  like  that 
of  a  mastiff  with  overhanging  upper  lips.     The  outer  surface  of  the  legs  and  the 


Fig.   22. 

Fig.  21. — Metate  with  base  open  at  the  ends,  the  sides  being 
decorated  with  incised  panels.  '/» 

Fig.  22.— Modern  wooden  seat  used  by  the  Indians  of  Chi- 
riqui. '/• 


Fig.  23. — Metate  of  the  four-legged  type,  ornamented  with  ten  animal  heads 
attached  to  the  margin  of  the  plate.     '/' 

margin  of  the  plate  are  decorated  with  incised  patterns.     The  top  of  the  plate  is 
considerably   worn,   the   wear  extending  to  the  low  rim,  particularly  at  the  ends. 

1  Twenty-fifth  ann.  rept.,  Bur.  Amer.  ethnol.,  PI.  LXXXII,  1903-04. 


30 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


A  single  zoomorphic  unit  is  represented  in  figure  25.  The  head  is  clumsy, 
not  the  typical  jaguar  head,  probably  that  of  some  canine.  The  tail,  which  is 
broken,  curved  downward  and  laterally  till  it  joined  the  left  leg  at  the  knee.  The 


Fig.  24. — Metate  representing  anterior  half  of  two  animals.      '/< 

outer  surface  of  the  legs  is  cross-hatched  with  rather  deep  incisions,  as  was  also 
the  tail.  The  margins  of  the  plate  representing  the  animal  body  are  marked  in 
a  similar  manner.  There  is  a  pair  of  bands  in  relief  at  each  knee. 


Fig    25. — Metate  representing  a  single  zoomorphic  unit. 


We  have  now  followed  the  various  steps  in  the  development  of  the  complete 
zoomorphic  unit  from  the  commonplace  mealing  stone.  Once  established,  this 
unit  becomes  constant.  The  jaguar  appears  to  be  chosen  to  the  exclusion  of  all 

other  forms.  It  would  be  interesting 
to  know  the  reasons  for  such  a 
choice.  It  may  be  that,  as  in  Mexi- 
co, the  jaguar  was  esteemed  one  of 
the  primeval  gods,  its  name  being 
given  to  the  Earth.  It  would  be 
appropriately  associated,  therefore, 
with  the  sources  from  which  the 

Fig.   26.  — Jaguar  metate  with   rectangular  top.      '/»  grain  and  nuts  COme.      The  skill  with 

which  the   majestic   bearing  of  this 

animal   is   rendered   borders   on   the   marvelous,      The   hand   of  the  sculptor  was 
guided  not  only  by  artistic  skill  but  also  by  reverence  for  the  subject. 

Among  the  jaguar  metates   there   are  two  types  of  mealing  plate ;  (1)  the  rec- 


METATES. 


31 


tangular  and  (2)  the  oval.  The  latter  far  outnumber  the  former.  An  example  of 
the  rectangular  top  is  given  in  figure  26,  where  the  borders  are  flat  and  ornamented 
with  lozenge-shaped  incisions.  The  top  is  hollowed  out,  thus  leaving  a  compara- 
tively high  rim  on  all  sides.  Within  are  red  and  yellow  stains  as  if  the  metate 
had  been  used  as  a  mortar  for  mixing  paints.  The  few  specimens  noted  of  this 
type  have  a  longitudinal  furrow  in  the  tail,  with  slanting  lateral  incisions,  as  if 
to  indicate  the  parting  of  the  hair. 


Fig.   27. — Jaguar  metate  the  legs  of  which  are  decorated  with  stars  in  champleve.     '/« 

Some  new  decorative  elements  are  introduced  in  figure  27.  On  the  outer  sur- 
face of  each  Iftg  are  from  one  to  two  stars  in  champleve.  The  number  of  points 
to  the  star  varies  from  six  to  nine.  Each  star  is  enclosed  in  a  circle.  This  motive 
does  not  occur  on  any  other  metate  in  the  collection.  The  guilloche  pattern  on 
the  head  and  tail,  however,  is  characteristic  of  both  Chiriquian  and  Costa  Rican 
metates,  it  and  the  lozenge-shaped  design  very  cleverly  representing  the  rosette 
markings  of  the  jaguar.  The  low  rim  of  the  mealing  plate  has  been  almost  ground 


Fig.  28. — Jaguar  metate  with  guilloche  ornamentation.     '/« 

away.  The  neck  of  the  jaguar  is  very  short,  bringing  the  ears  so  close  to  the 
rim  of  the  plate  that  they,  too,  are  ground  at  the  tips.  One  of  the  rubbing  stones 
(fig.  31)  fits  this  metate  perfectly. 

A  more  characteristic  jaguar  metate  is  illustrated  in  figure  28.  The  border  of 
the  oval  plate  is  plain,  with  the  exception  of  two  parallel  horizontal  incised  lines. 
Elsewhere  the  markings  of  the  jaguar  coat  are  indicated  by  somewhat  involved 


32 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


guilloches.  These  are  confined  to  the  outer  more  easily  visible  surfaces,  as  in 
nature.  The  joints  and  muscles  of  the  legs  are  worked  out  in  a  somewhat  con- 
ventional, though  effective  fashion.  The  neck  and  root  of  the  tail  encroach  upon 
the  mealing  surface  of  the  plate.  The  muzzle  of  the  jaguar  is  relatively  short 
and  the  jaws  are  wide  open,  a  characteristic  feature  of  all  representations  of  the 
jaguar,  whether  in  stone,  clay,  or  gold.  The  border  of  the  plate,  as  well  as  the 
head,  legs  and  tail,  are  decorated  with  guilloches. 

The  finest  and  largest  Chiriquian  metates  are  grouped  together  in  Plate  III. 
The  one  reproduced  in  figure  a  is  particularly  graceful  and  lifelike.  The  head 
and  neck  are  beautifully  modeled,  and  the  incised  patterns  on  legs  and  tail  are 
original.  The  other  two  are  exactly  of  a  height  (37  cm).  Figure  b  has  the  wider 
plate,  being  but  little  longer  than  broad.  Contrary  to  the  general  rule,  the  tail 
is  relatively  short  and  is  not  carried  downward  and  laterally  to  unite  with  one  of 

the  feet.  The  largest 
of  all  the  metates  is 
shown  in  figure  c.  It 
measures  1.17  meters 
in  length  by  one-half 
meter  in  breadth.  The 
legs  and  tail  are  plain, 
but  the  borders  of  the 
plate  are  incised  as  is 
also  the  forehead.  The 
two  rows  of  teeth  and 
the  overlapping  of  the 
canines  are  distinctly 
shown. 

There  is  a  small 
metate  in  the  collec- 
tion (fig.  29)  resembling  one  from  Chircot  in  the  highlands  of  Costa  Rica,  figured 
by  Hartman.  The  plate  is  nearly  round  and  perfectly  flat,  with  incised  borders. 
There  is  an  animal  head  at  either  end.  The  legs  are  short,  thick  and  roughly 
triangular  in  section.  The  smallest  of  the  metates  is  given  in  figure  30,  its  length 
being  16.5  centimeters.  The  plate  is  flat  and  rectangular,  the  short  legs  are  round 
in  section,  the  animal  head  is  only  roughly  blocked  out. 

One  of  the  most  elaborately  carved  metates  is  in  the  collection  (cat.  no.  8250) 
of  Mr.  George  G.  Heye  of  New  York.  The  border,  which  is  not  faceted, 
is  divided  midway  on  either  side  by  two  raised  vertical  lines.  The  angular 
guilloche  pattern  on  the  front  half  is  composed  of  four  intertwining  bands,  while 
that  on  the  rear  half  consists  of  only  two.  A  similar  pattern  is  carried  down  the 
foreleg,  while  the  hindleg  is  ornamented  with  a  series  of  squares  which  re- 
semble still  more  closely  the  ocellated  markings  of  the  jaguar. 

Much  pains  was  spent  on  the  muscles  and  joints  of  the  legs.  The  toes  are 
indicated  and  even  the  pads  on  the  soles  of  the  feet  are  carefully  worked  out. 
The  incised  design  on  the  top  of  the  head  is  a  marked  variation  from  the  usual, 
the  central  feature  being  a  rosette ;  surrounding  this  is  a  series  of  raised  triangles. 


Fig.   29. — Metate  with  animal  head  at  either  end.     '/» 


RUBBING  OR  HAND  STONES.  33 

The  same  motive  repeated,  except  that  the  triangles  point  outward,  is  half  cut 
away  by  the  deep  dishing  of  the  mealing  plate.  The  bottom  of  the  latter  is  quite 
concave,  as  might  be  expected  from  the  rather  highly  convex  ventral  curve ;  and 
is  highly  polished,  particularly  in  the  middle.  It  is  also  stained  black,  the  stains 
reaching  nearly  to  the  top  of  the  high  rim.  The  tail  has  two  deep  longitudinal 
grooves,  the  sides  of  which  are 
ornamented  with  rows  of  trian- 
gles in  relief,  their  bases  meeting 
at  the  bottom  of  each  groove. 
There  is  also  a  row  of  these 
triangles  on  either  side  of  the 
tail.  The  teeth  are  faithfully 
rendered,  the  artist  taking  care 
to  make  the  lower  canines  close 
in  in  front  of  the  upper,  as  is 

the    Case    in    nature.       This    Spec-      Fig-   3°- — Small  crudely  shaped  raetate  with  rectangular  plate.     V» 

imen    was    collected  by  Mr.  F. 

D.  Utley  in  the  St.  Andres  mountains,  near  Bugavita.  He  obtained  from  the  same 
locality  a  very  handsome  jaguar  metate  similar  to  figure  28,  the  body,  however, 
being  relatively  longer  and  natter. 

The  Heye  collection  includes  a  large  metate  similar  to  figure  24,  except  that 
the  heads  at  either  end  are  much  flattened  and  the  short  sloping  legs  are  per- 
fectly plain.  Of  his  Costa  Rican  metates,  one  has  been  figured  by  Hartman.1 
Two  others  are  worthy  of  special  mention.  One  of  these  (cat.  no.  9622)  is  very 
similar  to  the  ordinary  Chiriquian  jaguar  metate:  by  the  addition  of  the  head  at 
one  end  and  the  lower  extremities  from  the  pubic  arch  downward  at  the  other, 
the  plate  is  converted  into  the  body  of  a  human  female  facing  upward.  The 
human  legs  are  curved  downward  and  laterally  till  they  unite  with  the  metate 
legs  exactly  as  if  they  were  a  pair  of  jaguar  tails  instead.  The  other  metate  (cat. 
no.  1872)  with  a  plain  rectangular  plate  and  high  rim  and  flat  bottom  is  supported 
on  the  backs  of  two  jaguars,  each  with  the  head  turned  so  as  to  face  outward 
and  with  nose  on  the  ground.  The  tail  is  curved  upward  so  as  to  take  some  of 
the  load.  Each  jaguar  is  represented  with  a  single  foreleg  and  hindleg. 

Rubbing  or  Hand  Stones. — Very  little  general  interest  attaches  to  the  compara- 
tively insignificant  upper  millstones,  which  accounts  in  part,  at  least,  for  the  rela- 
tively small  number  to  be  found  in  the  collections.  According  to  Hartman,  the 
metates  of  Las  Guacas  far  outnumbered  the  rubbing  stones.  During  his  "  ex- 
cavations on  the  spot,  where  about  fifty  complete  metates  were  exhumed,  not  a 
single  complete  rubbing  stone  was  discovered.  Only  a  couple  of  small  frag- 
ments were  brought  to  light."  In  his  previous  excavations  at  Las  Casitas,  how- 
ever, he  did  find  "  las  manos "  with  several  metates.  The  characteristic  Nicoyan 
grinding  stone  was  sub-cylindrical,  "  and  so  much  longer  than  the  breadth  of  the 
metate  that  the  hands  of  the  women  when  grinding  could  comfortably  grasp  both 

1  C.  V.  Hartman.  Archeol.  researches  on  the  Pacific  coast  of  Costa  Rica.  Mem.  Carnegie 
museum,  III,  no.  1,  figs.  64  and  65,  1907. 

MEMOIRS  CONN.  ACAD.,  Vol.  III.  6 


34  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

ends  of  the  grinder  on  either  side."  This  was  made  possible  because  the 
metate's  grinding  surface  was  flat  in  the  transverse  direction  and  not  bounded 
by  a  raised  rim. 

The  Chiriquian  grinding  stone  had  to  fit  a  very  different  sort  of  grinding  sur- 
face -  -  one  concave  in  both  directions  and  bounded  by  a  low  rim.  The  upper 
stone,  therefore,  is  relatively  short.  An  example  is  reproduced  on  its  metate 
(see  fig.  17).  It  resembles  a  flattened  cylinder,  rounded  at  the  ends.  Another  type 
is  nearly  rectangular  in  section,  with  flattened  ends.  The  stone  reproduced  in 
figure  31  is  a  good  example.  It  fits  one  of  the  metates  in  the  collection  (see 
fig.  27),  but  may  not  have  been  found  with  it. 

There  is  a  single  specimen  that  would  seem  to  be  better  adapted  for  use  in  a 
mortar  than  on  a  metate  (fig.  32).  It  may  have  served  as  a  grinding  stone  for 
the  small  metates  with  high  square  rim  (see  fig.  26)  or  the  so-called  stone  stools 
with  circular  tops  (see  PI.  IV,  fig.  e).  In  shape  it  may  be  compared  to  an  inverted 
toadstool.  A  similar  type  of  pestle  has  been  found  in  southern  Indiana  and  Ohio, 
as  well  as  on  the  northwest  coast  of  America. 


Fig.  31.  Fig.  32. 

Fig.   31. — Rectangular  rubbing  stone.     V« 
Fig.  32.— Pestle.     '/» 


Fig.  33- 
Fig.  33. — Sub-spherical  pestle  streaked  with  gold. 


A  cylindrical  hammer  stone  with  tapering  and  battered  ends  should  be  mentioned. 
One  of  the  most  interesting  stone  implements  of  the  collection  is  a  sub-spherical 
pestle  with  polished  surfaces  and  almost  everywhere  streaked  with  gold  (fig.  33). 
De  Zeltner,  from  whom  the  specimen  was  bought,  believed  it  to  have  been  used 
by  the  natives  to  reduce  the  gold  to  powder  preliminary  to  the  process  of  fusion. 
It  was  entered  in  his  catalogue  as  a  "  pierre  de  porphyre,  forme  de  boulet  un 
peu  equarre  ayant  servi  de  marteau  d'or,  on  voit  encore  les  traces  du  metal." 
This  is  the  specimen  referred  to  by  Gabriel  de  Mortillet1  as  "ayant  servi  a  triturer 
le  metal  afin  d'en  faciliter  la  fusion."  The  stone  is  of  volcanic  origin,  probably 
a  well-cemented  ash  or  tuff. 

1  Materiaux  pour  1'histoire  primitive  et  philosophique  de  I'homme,  IV,  65,  J868. 


STOOLS.  35 

Stools.—  There  is  a  small  group  of  stone  carvings  to  which  the  names  circular 
metates,  mortars  or  stools  might  apply  almost  equally  well.  Their  kinship  to  the 
metates  has  already  been  mentioned.  If  the  sculptor  were  to  begin  with  a  block  of 
stone  whose  length  was  greater  than  its  breadth  or  thickness  he  would  end  with  a 
metate.  If  on  the  other  hand,  all  three  dimensions  of  the  original  block  were 
about  equal,  the  final  product  would  be  the  so-called  stool.  Both  groups  have 
a  plate  showing  the  effects  of  use.  In  either  group  this  plate  may  be  supported 
by  a  solid  column,  a  hollow  stand  in  the  sides  of  which  openings  are  cut,  or  by 
four  legs.  Even  the  guilloche  ornament  so  common  to  the  metates  is  also  found 
on  some  of  the  stools.  The  latter  might  well  have  served  as  seats,  in  which  case 
continuous  use  would  have  smoothed  the  surface  of  the  plate.  While  the  wear 
on  the  stools  is  unmistakable,  it  is  not  quite  so  marked  as  on  the  metates. 

In  speculating  on  the  use  to  which  these  objects  were  put  it  should  be  noted 
that  similar  stools  were  also  made  of  clay.  That  the  latter  were  used  either  as 
mortars  or  stools,  is  highly  improbable.  Holmes  suggests  that  they  may  have  been 
employed  as  supports  for  articles,  such  as  vases  or  idols,  or  possibly  as  altars. 

One  difference  between  metates  and  stools,  which  may  point  to  a  difference  in 
their  use,  will  suggest  itself  by  consulting  the  illustrations,  viz.,  the  association 
of  the  jaguar  with  the  metate  and  that  of  the  monkey  and  man  with  the  stool. 
It  is  true  that  the  heads  suspended  from  the  plate  of  one  of  the  stools  (see  PI.  IV, 
fig.  b)  may  possibly  be  referred  to  the  jaguar.  Holmes  also  describes  a  clay  stool 
supported  by  "  two  rudelv  modeled  ocelots  and  two  monkey- like  figures,"  but 
these  are  rare  exceptions  that  prove  the  rule. 

A  series  of  five  stools  is  given  in  Plate  IV.  One  of  the  ruder  forms  is  shown 
in  figure  a.  The  top  is  concave;  its  margin  is  decorated  with  nine  animal  heads. 
Four  vertical  openings  are  cut  in  the  sides  of  the  hollow  bell-shaped  support. 
A  somewhat  similar  but  more  finished  stool  is  reproduced  in  figure  b.  There  is 
a  more  highly  developed  border  to  the  plate,  from  which  hang  four  jaguar-like 
heads.  The  peripheral  ornamentation  consists  of  a  series  of  disconnected  sigmoid 
scrolls  for  three-fourths  of  the  way  and  of  a  simple  guilloche  pattern  for  one- 
fourth.  In  one  of  its  stages  the  guilloche  becomes  a  series  of  linked  S's  —  a  proof 
that  it  and  the  scroll  have  a  common  origin,  as  pointed  out  by  Holmes.  The 
sides  of  the  hollow  stand  are  nearly  vertical,  the  spread  being  confined  almost 
wholly  to  the  continuous  foot.  A  stool  similar  to  the  two  foregoing,  but  of  more 
finished  workmanship  and  about  three  times  as  large,  was  found  recently  at  Mer- 
cedes, Costa  Rica,  and  is  now  in  the  Keith  collection.  The  tallest  of  the  seats 
(fig.  c)  is  supported  by  four  round  legs  :  near  the  top  of  each  there  is  a  human 
head  in  relief.  Just  above  these,  encircling  the  plate,  are  thirty  small  animal  heads. 

The  support  for  the  seat  becomes  frankly  zoomorphic  in  figure  d.  Four  monkey- 
like  figures  stand  on  the  slender  basal  ring,  carrying  the  circular  seat-plate  on 
their  heads  and  uplifted  hands.  While  all  four  monkeys  are  equidistant  from  each 
other,  they  are  also  grouped  in  pairs  by  bringing  the  tips  of  the  tails  and  the 
two  adjacent  elbows  into  contact,  forming  in  this  way  a  delicate  and  continuous 
tracery  reaching  half-way  round  the  specimen.  The  same  thing  is  repeated  on 
the  opposite  side.  The  only  lack  of  bilateral  symmetry  in  the  two  halves  is  due 
to  an  accident  that  happened  to  the  piece,  presumably  while  it  was  still  in  the 


36  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

sculptor's  hands.  The  right  arm  of  one  of  the  monkeys  was  broken  off.  The 
ingenuity  with  which  the  mutilation  was  concealed  is  seen  in  figure  d'.  All  traces 
of  the  broken  member  were  removed,  even  to  the  fingers  holding  the  plate,  and 
a  necessarily  abbreviated  arm  in  relief  was  chiseled  on  the  monkey's  breast.  A 
small  crack  in  the  plate  where  the  hand  previously  rested  may  have  been  caused 
by  the  same  fall  or  blow  that  carried  away  the  outstretched  arm.  In  other 
respects  the  piece  is  perfect.  The  margin  of  the  plate  is  ornamented  with  scroll 
work.  Stools  similar  to  this  one  are  found  as  far  north  as  Mercedes,  Costa  Rica, 
from  which  place  Mr.  Minor  C.  Keith  obtained  the  largest  and  finest  specimen  of 
the  type  in  question  I  have  ever  seen. 

The  top  in  figure  e  is  more  like  a  mortar  than  a  seat.  It  is  dished  to  a  depth 
of  3.7  centimeters  and  the  inside  is  stained  a  dark  color,  as  if  it  might  have  served 
to  mix  paints.  The  border  is  undecorated  and  curved  instead  of  being  flat,  giving 
the  whole  the  appearance  of  a  shallow  bowl.  The  latter  is  held  by  four  monkeys, 
two  upright  and  two,  alternating,  on  their  heads.  One  of  these  is  tailless.  This 
stool  resembles  the  one,  also  from  Chiriqui,  exhibited  by  Captain  J.  M.  Dow  at  a 
meeting  of  the  American  Ethnological  Society  in  1860,  and  described  as  "  a 
circular  dish  about  ten  inches  in  diameter,  with  a  rim  supported  by  five  human 
figures,  standing  on  a  narrow  circular  foot,  all  carved  in  stone  and  hollow,  prob- 
ably a  chafing  dish  for  sacrifice."  * 

One  of  the  stone  stools  in  the  collection  is  so  much  like  that  represented  in 
figure  13  of  Holmes's  work  that  it  is  not  reproduced  here.  There  is  a  similar 
example  in  the  Heye  collection  (cat.  no.  7054)  with  this  difference  that  the  base 
also  carries  a  row  of  heads,  inverted  and  smaller  than  the  upper  series. 

Mr.  Heye  possesses  another  Chiriquian  stool  (cat.  no.  8286)  of  sandstone,  the 
hollow  bell-shaped  stand  of  which  is  curiously  grooved  as  if  it  had  been  used  as 
a  polisher.  The  grooves  are  vertical  and  form  two  series ;  those  of  the  upper 
series  are  the  larger  and  are  cut  through  the  sides  of  the  stand,  while  those  of 
the  lower  group  are  smaller  and  do  not  go  through.  This  piece  was  collected  at 
Bugaba  by  Mr.  Utley. 

Images. — This  class  of  objects  is  not  very  large,  the  majority  being  represen- 
tations of  the  human  form.  Some  of  these  are  fine  examples  of  the  art  of  prim- 
itive sculpture ;  others  are  quite  crude  and  unfinished  in  appearance.  The  original 
shape  of  the  stone  in  figure  34  suggested  the  lines  of  some  animal  so  that  little 
was  done  save  to  round  the  body  and  neck  and  bring  out  the  eyes  and  nose  a 
trifle.  A  small  image  of  a  quadruped,  with  head  raised  and  neck  twisted  half- 
way round,  is  seen  in  figure  35.  It  is  without  merit  either  in  conception  or  exe- 
cution. This  cannot  be  said,  however,  of  the  next  illustration  (fig.  36),  which 
may  be  described  as  representing  a  man  or  a  monkey  seated  on  the  end  of  a 
cylindrical  pestle  and  holding  something  to  his  mouth.  The  remarkable  head-dress 
should  be  compared  with  that  of  the  figure  standing  on  one  of  the  drum  whistles 
(see  fig.  280). 

One  of  the  large  crude  human  images  (fig.  37)  has  the  appearance  of  being 
perched  on  the  end  of  a  stone  pillar.  The  head  is  relatively  large,  the  hair  or 

1  Bull.  Amer.  ethnol.  soc.,  I,  11,  New  York,  1860-61. 


IMAGES. 


37 


head  covering,   represented  both  in  relief  and  by  means  of  parallel  incised  lines, 
running  from  front  to  back.     At  the  vertex  there  is  the  stump  of  what  once  might 


frig-  34-  —  Image  representing  crude  animal  form.     '/' 


Fig.  35. — Small  image  of  a  quadruped.    '/< 


have  been  a  cylindrical  shaft.     One  of  the  Chiriquian  gold  figurines  in  the  Heye 
collection  has  a  similar  head-gear,  only  much  taller,  resembling  the  high  Tlingit 


v.'.-----.:-.-'-?; '*.-»•  .-•••••  f 
Bj:SS2fe5 ' ":.!-; •'•>&!  -- 

^^&iL-:  ^«& 


Fig.  3°-  Fig-  37-  Fig-  3»- 

Fig.  36. — Image  seated  on  cylindrical  pestle  ;  may  represent  man  or  monkey.     '/• 
F'g-  37' —  Large  crude  human  image  with  "  skil  "  ornament  on  the  head;   from  Bugavita.     '/• 
Fig.  38. — Crude  human  image  ;  from  Bugavita.     '/« 

hats  built  up  of  superimposed  disks  (skil).  The  body  is  short.  The  arms  are 
indicated  in  relief,  being  bent  at  the  elbow  and  again  at  the  wrist,  with  the  hands 
against  the  sides  of  the  face.  The  legs  are  drawn  as  if  in  a  sitting  posture  and 


38 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


hug  the  pillar.  Figure  38  is  in  the  same  general  class,  the  differences  being 
limited  to  minor  details.  Both  these  pieces  are  from  Bugavita.  One  represents 
a  male,  the  other  a  female. 

There  are  three  standing  statues  in  the  collection,  one  of  which  has  the  appear- 
ance of  being  merely  blocked  out  (fig.  39),  although  some  striking  character- 
istics are  already  visible :  the  long  nose,  for  instance,  with  the  line  of  the  bridge 

straight  and  continuous  with  the  forehead ;  the  top  of 
the  head,  shaped  like  those  of  the  clay  figurines  described 
on  page  165 ;  the  loin-cloth  and  the  short  legs  bent  a  little 
at  the  knee.  The  feet  have  not  been  cut  apart.  The 
body  is  long.  The  arms  are  in  relief,  the  right  hand  is 
on  the  right  breast  and  the  left  on  the  abdomen.  This 
piece  is  from  San  Carlos. 

Statues  of  the  female  sex  predominate.  The  finest 
of  these  (figs.  40 a  and  406)  was,  according  to  the 
finder  from  whom  Professor  Marsh  bought  it,  "  dug 
up  in  Chiriqui  in  1871,"  and  appropriately  named  the 
"  Panama  Venus."  It  undoubtedly  does  represent  some 
familiar  goddess,  as  there  is  in  the  collection  another 
copy,  not  so  elaborately  finished,  however,  and  less  than 
half  as  tall  as  the  one  reproduced.  The  latter  is  78.5 
centimeters  in  height  and  stands  securely  on  its  own 
feet  by  virtue  of  their  breadth  and  the  projecting  heels. 
The  toes  are  indicated  and  the  malleoli,  both  median 
and  lateral,  are  prominent.  The  relatively  short  legs 
are  slightly  flexed  at  the  knee.  The  incised  ornament 
on  the  loin-cloth  and  the  head-dress,  the  only  articles  of 
apparel,  resembles  somewhat  that  on  the  borders  of  the 
mealing  stones  already  described.  The  body  is  round 
dorsally  and  flat  ventrally,  the  flatness  being  emphasized 
by  the  square  shoulders  and  stiff  angular  pose  of  the 
arms  and  hands.  The  loin-cloth  is  also  flattened  in  front 
to  be  in  keeping  with  the  surfaces  above.  The  neck, 
on  the  other  hand,  is  round  in  front  and  flattened  behind. 

The  hair,  represented  in  relief,  reaches  to  the  shoulders,  suggesting  the  same 
style  of  treatment  as  seen  in  the  clay  figurines.  The  flatness  of  the  crown  of 
the  head  may  be  intended  as  a  feature  of  the  head-dress  only.  The  face  is 
pointed,  the  nose  long  and  straight,  and  the  mouth  small.  The  two  examples 
of ''Panama  Venus"  in  the  Yale  collection  are  both  in  a  perfect  state  of  preservation 
and  resemble  each  other  much  more  closely  than  either  does  the  one  figured  by 
Holmes.  All  three  however  undoubtedly  refer  to  the  same  personage. 

In  1860  Mr.  Totten  and  Mr.  Center,  engineers  of  the  Panama  Railroad  Company, 
gave  to  the  American  Ethnological  Society  three  stone  statues  of  an  unusual  type, 
described  in  the  record  of  the  meeting '  as  "  being  about  two  feet  high,  cut  from 


Fig.  39. — Rough  statue  in  stand- 
ing posture;  from  San  Carlos.   '/' 


1  Hist,  mag.,  IV,  144. 


ORNAMENTS. 


39 


hard,  dark-colored  stone,  and  represent  the  human  form  and  features  distorted, 
and  with  legs  bent.  Two  of  them  have  square  tapering  pedestals,  about  two  feet 
long,  apparently  designed  to  be  stuck  upright  in  the  ground;  and  the  third  may 
have  had  a  similar  one.  They  are  said  to  be  the  only  objects  of  the  kind  found 
in  the  graves,  though 
it  has  been  reported 
that  a  number  of  such 
specimens  are  stand- 
ing in  one  of  the  grave- 
yards in  a  forest  at 
Chiriqui."  The  three 
statues  in  question 
were  from  Panama, 
presumably  the  prov- 
ince of  Chiriqui. 

Ornaments. — Under 
this  head  are  grouped 
beads  and  amulets. 
Both  classes  are  rare 
in  Chiriqui.  Two  large 
highly  polished  agate 
beads  are  reproduced 
in  figures  41  and  42. 
The  conical  borings 
are  made  with  precis- 
ion at  both  ends  and 
stop  at  the  center, 
leaving  only  room 
for  the  passage  of  a 
slender  thread.  There 
is  but  a  single  green 
jasper  bead  (fig.  43) 
in  the  collection.  A 
small  agate  pendant, 
with  a  vertical  and 

a    horizontal     boring  Fig.  40  a.  Fig.  40*. 

meeting  at  a  point 
near  the  upper  end, 
is  seen  in  figure  44. 

Because  of  their  resemblance  to  those  from  Nicoya,  the  few  amulets  to  be  found 
in  Chiriquian  collections  are  presumably  of  Costa  Rican  origin,  a  presumption 
that  is  further  strengthened  by  their  great  abundance  at  Las  Guacas.  Hartman 
states  that  '"  of  all  the  objects  found  in  the  burial  ground  of  Las  Guacas  none 
are  more  numerous  than  the  amulets.  Several  thousand  specimens  have  been 
unearthed.  The  commonest  are  those  which  have  the  shape  of  a  celt  or  a  grooved 
axe,  which  has  been  divided  lengthwise,  the  convex  side  serving  as  the  front." 


Fig.  40.  —  Large   statue  of  a  female  —  the   so-called   Panama  Venus  ;    a  front 
view ;  1>  profile  view.     '/• 


40 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


This  fits  the  description  of  the  specimens  found  in  Chiriqui.  A  plain  amulet 
of  this  type  is  reproduced  in  figure  45.  The  flat  back  is  perfectly  plain,  its  median 
ridge  or  scar  having  been  ground  down  and  polished.  The  convex  front  has  a 
central  transverse  groove.  Near  the  top  there  is  a  single  hole  for  suspension.  The 
periphery  is  not  faceted,  that  part  of  the  margin  forming  the  edge  being  sharper 


Fig.  41.  Fig.  42. 

Figs.  41,  42.— Highly  polished  agate  beads.     '/« 


Fig.  45. — Highly  polished  amulet 
of  pale  green  jade.  */• 

Fig.  46. — Large  translucent  amulet 
of  jade  ;  from  Miravalles,  Costa 
Rica.  '/' 


Fig.  45- 


Fig.  43- 


Fig.  44- 


Fig.  43  — Green  jasper  bead. 
Fig.  44. — Small  agate  pendant. 


V. 


Fig.  46. 


than  the  rest.    The  surfaces  are  everywhere  highly  polished.    The  material  is  a  pale 
green  jade,  translucent  only  near  the  thin  edges. 

On  some  of  the  pieces  described  by  Hartman  there  remained  the  median  scar 
at  the  back,  produced  by  sawing  into  the  parent  block  from  two  sides  until  it 
was  possible  to  pry  loose  the  piece  intended  for  the  amulet.  In  the  manufacture 
of  these  objects  large  pebbles  were  sawed  lengthwise  a  number  of  times  until  only 


ORNAMENTS. 


41 


Fig-  47- 


a  thin  central  flat  slab  was  left.  Even  this  was  perforated  and  also  used  as  an 
amulet  if  the  material  was  precious.  There  is  one  such  slab  in  the  Yale  Museum. 
It  is  from  Miravalles,  Costa  Rica,  but  is  appropriately  reproduced  here  (fig.  46). 
Its  length  is  twenty  centimeters.  The  thickness  varies,  one  half  being  only 
two  millimeters  in  thickness,  and  the  other  three,  so  that  the  piece  is  translucent 
at  all  points,  as  it  is  cut  from  a  mass  of  excep- 
tionally fine  jade.  The  longitudinal  scars  produced 
by  the  failure  of  the  saw-cuts  on  the  opposite 
sides  to  meet  in  a  common  plane  (and  by  the 
prying-loose  process)  are  visible  on  both  back 
and  front.  A  slice  was  removed  from  one  side 
of  this  slab.  The  other  lateral  margin  and  the 
ends  seem  to  follow  rather  closely  the  contours 
of  the  original  pebble  or  mass.  Sections  of  the 
margin  at  each  end  show,  in  fact,  the  original 
crust,  while  the  rest  of  the  specimen  is  polished 
artificially.  Near  the  smaller  end  are  two  holes 
bored  from  one  side  only,  one  of  them  being  a 
second  attempt  at  boring,  after  a  hole  had  been 
started  too  close  to  the  margin. 

The  small  celt-shaped  amulet  shown  in  figure  47 
serves  as  a  connecting  link  between  the  preced- 
ing figure  and  the  one  that  follows.  It  was  a 
piece  retained  by  the  Lamson  Brothers  when 
they  sold  their  (the  McNiel)  collections  to  Professor 
Marsh.  It  is  flat  on  the  back  and  has  the  groove 
across  the  front,  but  the  lateral  margins  and  pole 
are  faceted  and  there  are  two  holes  for  suspen- 
sion instead  of  one.  They  also  represent  the 
eyes  of  the  life  form,  the  head  of  which  is  further 
suggested  by  the  incised  lines  above  and  below. 
This  may  be  either  anthropomorphic  or  ornitho- 
morphic.  There  are  two  additional  holes  made 
by  boring  diagonally  into  the  lateral  facets  and 
the  back,  respectively.  These  may  have  been 
for  the  attachment  of  ornament  or  apparel.  The 
material  is  dark  green  and  opaque,  probably  a 
variety  of  hornstone  or  basanite. 

A  fine  ornithomorphic  celt-shaped  amulet  of 
jade  is  shown  in  figure  48,  one  that  compares 
favorably  with  the  best  specimens  from  Las 

Guacas  figured  by  Hartman.  It  does  not  seem  to  have  been  formed  by  splitting 
a  celt  in  two.  The  back  is  convex,  as  was  also  the  front  until  its  lower  half  was 
cut  away  to  make  the  blade  of  the  celt  and  the  tail  of  the  bird  as  well.  Then 
comes  the  body  of  the  bird  with  wings  in  relief  folded  on  the  breast.  A  trans- 
verse hole  for  suspension  is  bored  through  the  constriction  at  the  neck.  The 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  6 


Fig.  48. 


(Lam- 


Fig.  47. — Small    celt-shaped   amulet. 

son  collection.)     '/' 
Fig.  48  — Ornithomorphic  celt-shaped  amulet 

of  jade.     '/• 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


prominent  beak  is  in  low  relief  and  reaches  well  down  on  the  breast.  The  eyes 
are  scarcely  visible  —  two  little  shallow  depressions  sunk  by  boring.  Above  are 
the  two  ear-tufts  so  characteristic  of  the  gold  and  clay  parrots  described  in  other 
chapters.  If  this  resembles  the  stone  amulets  from  Nicoya,  it  also  suggests  the 
gold  amulets  of  Chiriqui,  and  may  not  be  an  importation.  The  surface  is  every- 
where highly  polished  except  at  the  edge. 

Another  ornithomorphic  amulet,  but  not  celt-shaped,  is  given  in  figure  49.     The 
beak  is  long,  straight  and  hooked  at  the  end  —  evidently  that  of  the  parrot.     The 


Fig.  49. — Ornithomorphic  amulet  of  green  translucent  jade.     '/'          Fig.  50. — Zoomorphic  amulet  of  agate.    '/« 

head  and  body  combined  are  not  so  long  as  the  beak,  although  more  massive. 
In  the  place  of  ear-tufts,  there  is  a  prominence  at  the  base  of  the  beak.  The 
region  of  the  neck  is  indicated  by  a  peripheral  incision,  at  the  level  of  which  is 
placed  the  hole  for  suspension.  The  base  of  the  tail  is  marked  by  a  horizontal 
incised  line  across  the  back.  The  feet  and  toes  project  very  little  beyond  the 
contour  line  of  the  body  and  resemble  very  closely  the  feet  of  the  well-known  gold 
parrots.  In  fact,  the  entire  figure  seems  to  have  been  inspired  by  the  work  of  the 
Chiriquian  goldsmith.  On  the  other  hand,  it  is  so  different  from  the  bird  forms  among 
the  amulets  found  at  Las  Guacas  that  to  assume  it  to  be  of  Nicoyan  origin  would  be 

hazardous.     The  specimen  is  of  the  finest  quality  of 
green  translucent  jade  and  in  perfect  condition. 

The  abundance  of  jade  ornaments  found  at  Las 
Guacas,  together  with  "  worked  blocks  of  the  crude 
stone,"  leads  Hartman  to  conclude  that  the  amulets 
were  manufactured  there  and  that  a  mine  of  the 
mineral  may  yet  be  discovered  in  the  neighborhood. 
It  is  highly  probable,  therefore,  that  there  was  a  com- 
mon source  of  jade  supply  for  the  regions  in  question, 
and  that  it  was  in  Costa  Rica. 

Figure  50  represents  a  zoomorphic  amulet  in  a 
simple  yet  effective  manner.  It  is  a  slab  from  an 
agate  pebble.  Shallow  notches  cut  out  of  the  periph- 
ery leave  muzzle,  forelegs  and  hindlegs,  respect- 
ively ;  while  the  entire  dorsal  contour,  from  the  back 
of  the  head  to  the  tip  of  the  tail,  is  produced  by 


collection)    '/• 


forefeet  are  perforated  for  suspension. 


PKTROGLYPHS. 


43 


Chiriquian  ornaments  of  stone  are  comparatively  rare.  Those  of  gold  were 
relatively  numerous.  Ornaments  of  less  durable  materials,  such  as  bone,  teeth, 
shell,  etc.,  may  have  been  used.  The  historian  Gonzalo  Fernandez  de  Oviedo  y 
Valdes,  who  visited  Nicoya  in  1529,  says  that  the  Indians  wore  necklaces  of  sea 
shells.  Similar  perishable  ornaments  may  have  been  used  by  the  prehistoric  races 
of  Nicoya,  as  well  as  of  Chiriqui.  In  the  Lamson  collection  there  is  a  single 
shark's  tooth  (fig.  51),  the  neck  of  which  is  trimmed  and  perforated.  It  was  found 
by  McNiel  in  a  grave  at  Divala  and  was  evidently  worn  in  the  same  fashion  as 
were  the  celt-shaped  amulets  of  stone. 

Petroglyphs. — Seemann '  speaks  of  finding  in  western  Veraguas  (Chiriqui)  remains 
of  a  numerous  tribe,  which  he  calls  Dorachos.  These  remains  consist  of  "  tombs, 
monuments  and  columns  of  different  sizes,  covered  with  fantastic  figures,  or  re- 
presentations of  natural  objects,  differing  entirely  from  either  the  hieroglyphics  of 
Mexico  or  those  of  Central  America."  Seemann  was  perhaps  the  first  (1848)  to 
give  a  detailed  description  of  a  granite  block  at  Caldera,  north  of  David,  known 
in  the  vicinity  as  piedra  pintal,  or  painted  stone.  The  sides  and  even  the  flat 
top  of  this  huge  boulder 
(or  outcrop  ?)  are  covered 
with  incised  figures.  The 
characters  are  from  a  half 
to  one  inch  deep  except 
on  the  weather  side,  where 
they  are  nearly  effaced, 
a  proof  of  their  great  an- 
tiquity. The  work  is  as- 
cribed to  the  Dorachos. 
Seemann  made  a  drawing 
of  the  piedra  pintal,  which 
was  later  reproduced  by 
W.  Bollaert.3  Holmes 
published  a  sketch  by 
McNiel  of  the  southwest 
face  (fig.  52),  showing 
approximately  the  same 
number  of  glyphs  as  in 
Seemann's  drawing.  Trac- 
ings by  M.  A.  L.  Pinart 
are  said  to  reveal  at  least 
forty  glyphs  on  the  same 
face. 


Fig.  52. — Southwest  face  of  the  piedra  pintal  or  pictured  rock  at  Caldera. 
(After  Holmes.) 


Fig-  53- — Northeast  face  of  the  piedra  pintal,  from  a  water-color  drawing 
made  by  Gentil. 


Seemann  was  struck  by  the  similarity  of  the  Chiriquian  and  certain  Northumbrian 
and    Scottish   petroglyphs.      Charles   Rau,3  however,  was   unable  to  discover  any 

1  Berthold  Seemann.    Narrative  of  the  voyage  of  H.  M.  S.  Herald,  I,  312,  London,   1853. 

2  Antiquarian,  ethnological  and  other  researches  in  New  Granada,  etc.,  30,  London,  1860. 

3  Observations  on  cup-shaped  and  other  lapidarian  sculptures  in  the  Old  World  and  in  Amer- 
ica.   U.S.  geogr.  and  geol.  surv.  of  the  Rocky  Mt.  region.     Contr.  to  Amer.  eth.,  V,  69,  1881. 


44  A  STUDY  OF  CHIRIQU1AN  ANTIQUITIES. 

figures  on  the  piedra  pintal  that  are  identical  in  shape  with  European  stone  sculp- 
tures, excepting  concentric  circles  and  a  few  carvings  resembling  wheels  with 
four  spokes.  He  very  justly  points  out  that  simple  devices  like  these,  when 
found  in  different  countries,  are  no  proof  of  ethnic  affinity  or  contact. 

Dr.  J.  Walter  Fewkes 1  notes  the  similarity  between  Porto  Rican  petroglyphs 
and  those  of  Chiriqui.  The  chief  motive  on  the  southwest  side  of  the  piedra 
pintal  seems  to  represent  a  front  view  of  the  human  or  other  face.  It  is  repeated 
with  variations  six  or  eight  times.  A  motive  not  unlike  this  characterizes  Porto 
Rican  petroglyphs,  and  is  also  found  in  Colombia  and  Venezuela. 

A  water-color  drawing  of  the  northeast  face  of  the  piedra  pintal  was  made  by 
Gentil  for  Father  Heyde.  Through  the  kindness  of  Professor  M.  H.  Saville  of 
Columbia  University  I  am  able  to  reproduce  a  tracing  of  this  sketch  (fig.  53), 
showing  its  close  agreement  with  Bollaert's  statement  that  "  the  top  and  other 
sides  have  signs  of  a  circular  and  oval  form,  crossed  by  lines." 

Other  Chiriquian  petroglyphs  have  been  noted  by  Mr.  J.  F.  Bateman  in  a 
letter  to  the  American  Ethnological  Society,  accompanied  by  a  tracing  which  is 
reproduced  in  figure  54.  According  to  the  letter :  "  The  hieroglyphic  enclosed 
was  found  on  a  large  surface  boulder  of  lava,  in  the  parish  of  San  Miguel, 

district  of  Chiriqui.  The  tracing  is  perfectly  correct,  two 
feet  long.  The  boulder  is  irregular  in  shape,  and  appears 
once  to  have  been  covered  with  figures  or  hieroglyphics ; 
but  the  others  are  so  indistinct  as  to  prohibit  being  copied. 
The  outlines  which  I  send  you  are  on  an  angle  of  the 
boulder-  facing  the  west.  The  position  of  the  rock  is 
eight  miles  nearly  due  west  of  the  mountain  called  El 
Fig.  54.— Tracing  of  a  pctro-  Volcan,  which  is  said  to  have  an  altitude  of  thirteen  thou- 

glyph.     (After  Bateman.)  ; 

sand  feet." 

None  of  the  petroglyphs  seem  to  bear  any  relation  to  the  many  decorative 
motives  used  on  the  pottery  found  in  the  graves.  This  fact  suggests  the  prob- 
ability of  their  belonging  to  a  different  age  and  civilization.  At  the  time  of 
Seemann's  voyage,  ancient  sculptured  columns  were  used  for  building  purposes 
in  the  town  of  David.  The  characters  on  these,  however,  were  raised  instead 
of  incised  and  were  considerably  smaller  than  those  of  the  piedra  pintal. 

1  The  Aborigines  of  Porto  Rico  and  neighboring  islands.  Twenty-fifth  ann.  rept,  Bur.  Amer. 
ethnol.,  151,  1903-1904. 

2  Bull.  Amer.  ethnol.  soc.,  I,  12,  New  York,  1860-1861. 


POTTERY. 

In  the  early  stages  of  human  culture,  the  association  of  ceramic  art  with  stone 
art  is  well-nigh  universal.  Both  stone  and  clay  have  archeological  possibilities  of  a 
high  order.  They  are  alike  almost  indestructible.  In  the  case  of  stone,  the 
ingredients  are  already  mixed  and  the  firing  is  done  by  Nature's  hand.  It  occurs, 
therefore,  in  a  more  utilizable  and  available  state  —  one  that  even  invites  use,  and 
was  the  first  to  appeal  and  yield  to  nascent  human  mentality. 

The  conditions  which  gave  rise  to  the  discovery  of  the  uses  of  baked  clay  and 
the  appreciation  of  its  economic  and  artistic  importance  were  very  different  from 
those  surrounding  the  first  race  of  tool-users.  De  Mortillet  believed  pottery  to 
be  an  invention  of  the  neolithic  period;  according  to  Rutot  it  dates  back  to  the 
cavern  epochs  of  the  paleolithic  period.  When  necessity  knocks  hard  enough, 
the  door  of  invention  opens.  The  need  of  vessels  must  have  been  felt  at  a  rela- 
tively early  stage  in  the  history  of  primitive  man ;  and  as  the  habits  of  the  race 
became  more  and  more  sedentary,  the  fragility  of  clay  vessels,  their  weakest 
point,  counted  less  and  less  against  them.  The  very  fact  that  fictile  products 
are  not  easily  transportable  adds  to  their  usefulness  as  a  criterion  for  locating 
culture  areas. 

Great  as  is  the  value  of  ceramics  from  a  practical  standpoint,  the  interest  of 
the  archeologist  is  centered  rather  in  the  role  it  has  played  in  the  development 
of  art.  The  plasticity  of  clay  is  particularly  well  calculated  to  stimulate  the  imagi- 
nation. It  yields  readily  to  any  form  that  fancy  may  dictate.  These  forms, 
whether  useful  or  ornamental,  in  themselves  present  surfaces  that  admit  of  further 
decoration  by  means  of  engravings  or  painted  designs,  thus  bringing  into  play 
the  great  realm  of  art,  from  sculpture  in  the  round  and  relief  to  engraving  and 
painting. 

The  place  of  aboriginal  American  pottery  could  scarcely  be  better  given  than 
in  the  words  of  William  H.  Holmes:1 

"  It  is  hardly  possible  to  find  within  the  whole  range  of  products  of  human 
handicraft  a  more  attractive  field  of  investigation  than  that  offered  by  aboriginal 
American  ceramics,  and  probably  no  one  that  affords  such  excellent  opportunities 
for  the  study  of  early  stages  in  the  evolution  of  art  and  especially  of  the  esthetic 
in  art.  The  early  ware  of  Mediterranean  countries  has  a  wider  interest  in 
many  ways,  but  it  does  not  cover  the  same  ground.  It  represents  mainly  the 
level  of  the  wheel,  of  pictorial  art,  and  of  writing,  while  American  pottery  is 
entirely  below  this  level,  and  thus  illustrates  the  substratum  out  of  which  the 
higher  phases  spring.  But  it  should  be  noted  that  not  merely  the  beginnings  of 
the  story  are  represented  in  the  native  work.  The  culture  range  is  quite  wide, 
and  opportunities  of  tracing  progress  upward  to  the  very  verge  of  civilization  are 

1  Twentieth  annual  report,  Bur.  Amer.  ethnol.,  19,  1898-1899. 


46  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

afforded.  Between  the  groups  of  products  belonging  to  the  inferior  tribes  scattered 
over  the  continent  from  Point  Barrow  to  Terra  del  Fuego,  and  those  representing 
the  advanced  cultures  of  Central  America  and  Peru,  there  is  a  long  vista  of 
progress." 

The  fictile  products  of  Chiriqui  may  be  divided  into  a  number  of  well-defined 
groups.  With  the  exception  of  certain  fugitive  pieces,  these  are  bound  together 
by  common  though  sometimes  rather  slender  threads.  The  pottery  as  a  whole 
may  be  looked  upon  as  a  more  or  less  consistent  unit.  There  are  traces  of 
northern  influence  and  some  evidence  of  contact  with  the  peoples  to  the  south, 
but  these  combined  were  not  sufficient  to  overcome  the  art-molding  forces  from 
within.  The  latter  were  strengthened  by  the  solidarity  that  comes  with  large 
numbers  dwelling  in  contiguous  communities  over  a  restricted  and  somewhat 
isolated  area.  The  abundance  and  size  of  the  ancient  cemeteries  (huacals)  scat- 
tered over  nearly  every  part  of  the  province  are  proof  that  the  region  was  populous 
and  the  period  of  continuous  occupation  relatively  long.  There  was  time  for 
tradition  to  make  itself  felt,  for  the  development  of  centers  where  art  crystallized 
about  the  beliefs  and  customs  of  the  people.  Thanks  to  the  mildness  of  the 
climate,  the  care  with  which  the  graves  were  constructed  and  the  practice  of 
burying  with  the  dead  the  objects  most  prized  in  life,  the  material  for  the  study 
of  Chiriquian  ceramic  art  is  not  only  most  plentiful,  but  also  especially  well 
preserved. 

CLASSIFICATION. 

Holmes  classifies  Chiriquian  pottery  under  two  general  heads,  each  with  sub- 
divisions, as  follows : 

a.  Unpainted  ware : 

1.  Terra  cotta  or  biscuit  group. 

2.  Black  incised  group. 

b.  Painted  ware : 

1.  Scarified  group. 

2.  Handled  group. 

3.  Tripod  group. 

4.  Maroon  group. 

5.  Red  line  group. 

6.  White  line  group. 

7.  Lost  color  group. 

8.  Alligator  group. 

9.  Polychrome  group. 

It  is  admitted  that  "  the  characters  upon  which  the  classification  is  based  are 
somewhat  heterogeneous  and  include  material,  color,  shape,  finish,  ornamentation, 
method  of  manufacture,  and  evidences  of  use.  No  single  character  and  no  one 
group  of  characters  can  be  relied  upon  to  distinguish  the  different  groups.  We 
must  depend,  therefore,  upon  an  assemblage  of  characters  or  upon  one  character 
in  one  place  and  another  in  another  place."  The  foregoing  classification  was  used 
"  mainly  as  a  means  of  facilitating  description." 


UNPAINTED  WARE.  47 

It  would  be  difficult  to  devise  anything  essentially  different  that  would  be  better 
than  the  classification  proposed  by  Holmes ;  yet  it  is  by  no  means  perfect.  There 
are  more  tripods,  for  example,  in  his  "  biscuit  group  "  than  in  the  "  tripod  group," 
so-called.  And  the  tripod  group  has  many  characters  in  common  with  the 
"  handled  group."  Again,  he  places  the  tripod  group  with  the  painted  ware,  but 
many  of  them  were  never  painted  at  all.  As  a  large  proportion  of  the  unpainted 
tripods  that  come  under  the  head  of  "  painted  ware "  had  been  used  over  the 
fire,  they  cannot  be  looked  upon  as  unfinished  specimens.  There  was  evidently 
no  thought  of  painting  the  pieces  in  question. 

Since  the  "  white  line "  group  is  such  a  small  one  and  resembles  so  closely 
some  of  the  pottery  from  Costa  Rica,  it  might  have  been  well  to  eliminate  that 
group  altogether  from  the  discussion  of  Chiriquian  pottery.  The  same  may  be 
said  of  the  "  red  line "  ware,  which  also  resembles  a  variety  of  Costa  Rican 
pottery.  But  specimens  of  these  two  groups  have  undoubtedly  been  found  in 
Chiriquian  graves.  Holmes's  monograph  is  not  only  so  well  done  but  also  so 
well  known  that  to  make  serious  changes  in  his  classification  would  lead  to  un- 
necessary confusion.  We  shall,  therefore,  retain  the  white  line  and  the  red  line 
groups. 

Quite  as  distinct  as  either  of  these  is  another  small  group  in  the  Yale  collection, 
which  is  not  mentioned  by  Holmes.  It  consists  of  a  series  of  chocolate-colored 
tripods  with  incised  ornamentation ;  this  will  be  more  fully  discussed  under  the 
head  of  the  "chocolate"  ware.  It,  also,  has  marked  Costa  Rican  affinities. 

There  is  still  another  series  of  vessels  that  does  not  seem  to  have  been  touched 
upon  by  Holmes.  In  form  it  resembles  somewhat  the  handled  group ;  and,  like 
the  latter,  almost  all  the  pieces  had  served  as  cooking  utensils.  None,  however, 
were  painted.  The  paste,  too,  differs  from  that  of  the  handled  group,  being  darker 
in  color  and  averaging  somewhat  coarser.  In  some  instances  there  is  a  distinct 
salmon-colored  slip,  reminding  one  of  the  slip  in  one  variety  of  the  biscuit  group. 
This  series  evidently  stands  between  the  handled  group  and  the  biscuit  group. 
None  are  mounted  on  tripods.  It  may,  for  convenience,  be  styled  the  unpainted 
variety  of  the  handled  group. 

I  think  that  three  important  changes  should  be  made  in  the  classification  of 
Holmes.  On  subsequent  pages,  I  shall  give  my  reasons  for  proposing  the  name 
armadillo  group  in  place  of  "  terra  cotta  "  or  "  biscuit "  group  ;  serpent  group  instead 
of  "•  black  incised  "  group,  and  fish  group  instead  of  "  tripod  "  group. 

UNPAINTED  WARE. 

As  a  matter  of  convenience  Chiriquian  pottery  may  be  classified  as  belonging 
to  two  grand  divisions  depending  on  the  use  or  non-use  of  paint.  The  line  of 
separation,  however,  is  not  so  distinct  as  those  defining  the  limits  of  the  groups 
composing  each  division.  We  find,  for  example,  that  one  variety  of  handled  ware 
is  painted,  while  another  is  unpainted.  On  the  other  hand,  some  examples  of  the 
tripod  or  fish  ware,  one  of  the  groups  of  painted  pottery,  do  not  seem  to  have 
ever  been  painted.  With  these  exceptions,  the  various  groups  fall  wholly  either 
within  the  painted  class  or  the  unpainted  class.  Biscuit  or  armadillo  ware,  for 


48  A  STUDY  OF  CHIKIQUIAN  ANTIQUITIES. 

example,  is  always  unpainted,  and  alligator  ware  is  always  painted.  It  is  worthy 
of  mention  that  the  largest  group  of  unpainted  ware  probably  served  ceremonial 
purposes,  while  vessels  of  one  group  of  painted  ware  were  especially  employed 
in  ways  utilitarian. 

THE  ARMADILLO  GROUP. 

This  is  the  large  group  called  by  Holmes  "  terra  cotta "  or  "  biscuit "  ware.  It 
includes  "  only  the  pale  grayish  yellow  and  reddish  tints  of  the  burned  clay." 
This  group  is  represented  in  the  Yale  collection  by  over  sixteen  hundred  pieces. 
A  majority  of  the  specimens  are  tripods.  Almost  as  many  are  round-bottomed 
vases.  Sixteen  have  annular  bases.  The  handled  and  tripod  groups  combined 
number  but  six  hundred  and  sixty- three,  only  two  hundred  and  seventy-three  of 
these  being  tripods.  If  the  collection  as  a  whole  may  be  considered  a  represen- 
tative one,  and  there  is  reason  to  believe  that  such  is  the  case,  then  the  tripod 
variety  of  the  armadillo  group  has  the  first  claim  to  consideration  as  the  tripod 
group,  since  its  numbers  are  far  greater,  both  absolutely  and  relatively,  than  those 
of  the  tripod  variety  of  the  handled  group. 

In  beauty  of  form  and  ornament,  the  specimens  of  the  armadillo  group  are 
inferior  to  none.  Perhaps  better  than  any  other  class  they  typify  the  plastic  skill 
and  unerring  taste  of  the  ancient  Chiriquian  potter.  There  are  only  a  few  generic 
forms,  but  an  almost  bewildering  number  of  individual  variations.  In  point  of 
size,  also,  much  latitude  was  allowed.  The  smallest  vessels  are  to  be  found  among 
the  cups.  The  vases  average  the  largest,  while  the  tripods  occupy  an  inter- 
mediate place.  The  smallest  cup  in  the  collection  has  a  capacity  of  but  six  cubic 
centimeters ;  the  tripods  vary  in  capacity  from  twenty  cubic  centimers  to  about  two 
liters  (2000  ");  and  the  largest  vase  holds  6.6  liters  (6600  cc).  The  walls  are  care- 
fully finished,  both  inside  and  outside,  and  are  of  uniform  thickness.  The  walls 
even  of  the  largest  vases  are  quite  thin,  averaging  not  more  than  four-tenths  of  a 
centimeter  in  thickness.  Flat  bottoms  are  practically  wanting.  Handles  are  com- 
paratively rare,  being  either  single  or  paired  and  of  the  vertical  loop  type. 

The  paste  used  in  the  armadillo  group  may  be  likened  to  that  of  our  modern 
porous  flower  pot,  but  in  color  it  is  not  quite  so  pronounced  a  red.  A  cup- 
shaped  vessel  with  legs,  holding  335  cubic  centimeters,  was  filled  with  water  and 
left  in  a  room  at  a  temperature  of  seventy  degrees  Fahrenheit.  It  was  emptied 
by  combined  evaporation  and  filtration  in  seventy-two  hours. 

A  question  arises  as  to  the  function  of  these  artistic  vessels.  Holmes  thinks 
that  it  could  not  have  been  of  a  domestic  nature,  "  as  they  show  no  evidences 
of  discoloration  or  wear."  This  is  not  strictly  true  of  the  specimens  in  the  Yale 
collection.  Out  of  a  total  of  1620  pieces,  eighty-one  or  exactly  five  per  cent 
bear  marks  of  having  seen  service.  These  marks  generally  consist  of  a  greasy 
smoky  surface  over  both  the  exterior  and  interior.  The  use,  however,  was  not 
necessarily  domestic ;  it  may  have  been  ceremonial.  A  probable  key  to  the  nature 
of  such  ceremonial  use  may  possibly  be  found  in  Seemann's  *  description  of  the 
rites  attending  the  death  of  a  chief  among  the  Indians  of  Panama  at  the  time  of 

1  Op.  cit.,  I,  316. 


THE  ARMADILLO  GROUP. 


49 


the  discovery :  "  The  corpse  after  being  enclosed  in  the  best  blankets  (mantas), 
and  decorated  with  golden  ornaments,  was  suspended  over  a  fire,  and  the  grease 
dropping  out,  carefully  collected  into  earthen  vessels;  when  dry,  the  body  was 
interred,  or,  in  some  districts,  preserved  above  ground." 

Beginning  with  the  more  primitive  forms,  figure  55,  from  El  Banco,  resembles 
in  shape  an  oblong  wooden  cup  with  rectangular  rim.  Another  elongated  form 
of  equally  rude  workmanship  is  given  in  figure  56.  The  wooden  angularity  of 
outline,  however,  has  disappeared,  the  rim  being  oblong  and  developed  at  one 
end  into  a  diminutive  handle  which  suggests  the  stem  of  a  fruit,  of  which  the 
vessel  itself  would  represent  one  half.  It  "comes  from  Divala,  twenty-five  miles 
west-northwest  of  David. 


Fig-  55- 


Fig.  56. 


Fig-   57- 


Fig.  58. 


Fig.  59- 


Fig-  55- — Primitive  rectangular  bowl  ;   from  Kl  Banco.     Armadillo  ware.     '/' 

Fig.  56. — Primitive  elongated  bowl  with  small   handle;  from   Divala.     Armadillo  ware.     '/> 

Fig  57- — Calabash  type  of  cup  with  diminutive  handle;  from  near  Bugavita.     Armadillo  ware.    '/' 

tig.  5^.  —  Hemispherical   bowl   with  spoutlike  projection  of  rim  ;   from   near  Bugavita.      Armadillo  ware.      '/> 

Fig  59- — Calabash  type  of  bowl  with    no    projection  of  rim.     Armadillo  ware.     V* 

The  hemispherical  cup  reproduced  in  figure  57  is  related  to  the  foregoing  type, 
although  of  superior  workmanship.  Its  prototype  was  the  vessel  made  from  part 
of  a  gourd  or  from  the  fruit  of  the  calabash  tree  (Crescentia  cujete).  A  slight  pro- 
jection at  one  point  on  the  rim  may  represent  the  stem  of  the  fruit,  as  well  as  a 
handle  that  is  practically  functionless  because  of  its  small  size.  In  figure  58,  the 
rim  projection  is  not  only  much  increased  but  is  grooved  so  as  to  form  a  sort 
of  spout  instead  of  handle.  These  last  two  pieces  are  from  the  same  locality  (six 
mill's  northwest  of  Bugavita).  Figure  59  is  an  example  of  the  calabash  type  without 
any  rim  protuberances. 

MEMOIRS  CONN.  ACAD.,  Vol.  III.  7 


50 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Fig.  60. 


Variations  from  the  calabash  type  are  seen  in  Plate  V.  One  of  these  may  be 
brought  about  by  the  incurving  of  the  rim  (fig.  a),  thus  restricting  the  area  of  the 
mouth  opening.  Another  step  is  taken  in  a  vessel  from  Escaria  (fig.  6),  which  is 
depressed  vertically.  The  incurving  of  the  rim  leads  quite  naturally  to  angular 
outlines.  Another  method  of  producing  angular  outlines  is  by  carrying  the  sides 
of  the  vessel  up  vertically,  as  shown  in  a  bowl  from  Bugavita  (fig.  c). 

If  after  building  the  sides  of  the  vessel 
past  its  greatest  horizontal  diameter,  the 
rim  be  carried  up  more  or  less  vertically, 
there  is  obtained  the  bowl-shaped  vase  seen 
in  figure  d.  The  neck  may  make  a  variety 
of  angles  with  the  shoulder.  It  may  be  in- 
sloping,  vertical,  or  flaring.  It  may  be  long 
or  short.  The  relatively  tall  vase  with 
pointed  bottom  is  an  example  of  the  flaring 
neck  (fig.  e).  It  and  the  foregoing  are  both 
from  Divala.  A  long  flaring  neck,  with  a 
pronounced  lip  as  an  accompaniment,  is 
given  in  figure  /.  Sometimes  four  slight 
protuberances  appear  at  the  corners  of  the 
mouth.  These  maybe  developed  horizontally 
to  form  more  or  less  square  lips  about  a 
circular  opening  (fig.  g). 

Again  the  neck  may  have  two  stories, 
the  lower  in-sloping  and  the  upper  flaring, 
as  in  figure  /*  (from  Divala).  The  lower 

Fig.  60.— Tripod  bowl  with  plain  hollow  supports,    story,    which    hereafter   will   be   called  the 

collar,  is  often  chosen  as  a  field  for  incised 
ornamentation. 

As  we  proceed,  it  will  be  seen  that  with 

one  exception  the  entire  ceramic  art  of  the  ancient  Chiriquians  is  but  an  elabo- 
ration of  the  foregoing  elementary  forms  —  forms  that  had  their  origin  in  vessels 
made  of  wood,  the  gourd,  the  calabash,  etc.  The  simplest  elaboration  is  the  adding 
of  three  legs  to  form  a  tripod.  These  began,  no  doubt,  as  short  pegs.  They  soon 
grew  in  dimensions  and  were  made  hollow.  They  were  then  supplied  with  earthen 
pellets  as  rattles,  and  slit  so  that  the  sound  might  not  be  muffled  (fig.  60). 

Tripods  of  the  armadillo  group,  as  has  been  noted,  are  very  numerous  and 
about  sixty-five  per  cent  are  of  the  calabash  type,  i.  e.,  hemispherical  in  shape. 
Only  about  fifteen  per  cent  are  angular  in  outline,  and  the  remainder  (twenty  per 
cent)  are  supplied  with  necks.  Collars  are  rare.  Only  two  or  three  of  the  tripods 
have  an  oblong  bowl  with  angular  rim,  and  perhaps  as  many  are  so  altered  in  the 
equatorial  zone  by  ornaments  in  relief  as  to  disguise  somewhat  the  essentially 
spherical  nature  of  the  bowl,  thereby  suggesting  some  animal  form ;  the  crab,  for 
example. 

Sometimes  the  legs  have  the  appearance  of  being  inflated  and  thus  stand  out 
from  the  body  of  the  vessel  in  such  a  manner  as  to  be  quite  conspicuous,  even 


Armadillo  ware.     '/« 
Fig.  61. — Tripod  bowl   with  plain  hollow  supports, 
apparently  inflated.     Armadillo  ware.     '/> 


THE  ARMADILLO   GROUP.  51 

when  the  latter  is  viewed  from  above  (fig.  61).  Again,  they  may  end  in  a  blunt 
point.  In  some  cases  the  tripod  bowl  is  open  and  shallow,  resembling  a  halved 
calabash,  in  others  it  is  almost  spherical.  An  example  of  the  rarer  angular  bowl 
is  given  in  Plate  VI  (fig.  a).  Tripods  with  a  single  median  slit  in  the  leg  are 
even  more  numerous  than  those  with  two  lateral  slits  in  each  leg.  To  this  type 
belongs  a  rare  double  tripod  (fig.  J),  the  bowls  being  united  by  a  sub-cylindrical 
tube,  slit,  and  carrying  a  single  ball  of  clay.  The  shoulder  ornaments  probably 
represent  the  armadillo.  In  figure  c  each  leg  has  four  vertical  slits,  two  lateral 
and  two  median.  This  brings  us  to  a  rather  small  but  interesting  group  of  tripods 
with  multiple  slits  in  each  leg,  the  slits  being  usually  short  and  seldom  vertical 
(fig.  d). 

The  pellets,  etc.,  with  which  the  hollow  legs  of  tripods  are  supplied,  are  as  a 
rule  little  balls  of  clay,  numbering  from  one  to  half  a  dozen  or  more  in  each  leg. 
In  rare  instances,  calcareous  concretions  are  used  in  place  of  clay  balls.  Mr. 
McNiel  sent  the  following  note  with  the  collections  he  sold  to  Yale  University 
Museum  : 

David,  Chiriqui,  U.  S.  C.  May,  1879. 

Herewith  I  send  samples  of  what  seems  a  curious  formation,  found  imbedded  in  soft  friable 
rock  which  outcrops  near  steamer's  landing,  3  miles  from  David.  I  am  not  certain  whether 
all  the  pebbles  found  in  the  legs,  etc.  of  the  pottery  from  the  ancient  graves  are  of  this 
material,  but  I  found,  on  examining  broken  specimens,  their  identity.  I  believe  the  rock 
in  which  they  are  found  to  be  tufaceous,  being  much  honey-combed  by  irregular  cells. 

J.  A.  McNiel. 

As  far  as  the  Yale  collection  is  concerned,  the  use  of  these  concretions  as 
pellets  for  tripod  legs,  etc.,  is  very  rare  indeed,  occurring  perhaps  in  a  single 
case  only  (fig.  e).  The  tripod  in  question,  which  is  of  high  artistic  merit,  is  much 
discolored  by  grease  and  smoke. 

The  rattles  in  the  legs  of  some  of  the  tripods  are  not  pellets  at  all ;  but  simply 
little  masses  of  clay,  irregular  in  shape,  that  were  pushed  into  the  hollow  of  the 
legs  when  the  latter  were  slit  or  punctured.  This  is  particularly  true  of  the  group 
of  tripods  last  referred  to,  in  which  each  leg  bears  multiple  punctures  in  the  form 
of  short  slits,  crosses,  etc.  In  these  examples,  the  leg  was  first  attached  to  the 
body  of  the  tripod,  then  punctured.  As  a  rule,  the  character  of  the  margins  of 
the  slits  would  seem  to  indicate  that  the  punctures  were  made  after  the  paste 
had  become  dry  and  hard,  perhaps  after  baking  (fig.  /).  With  a  mallet  and  small 
punch,  both  of  wood,  I  was  able  to  produce  similar  punctures  on  baked  specimens 
without  shattering  the  hollow  leg.  The  slits  in  figure  (j  could  have  been  made 
in  the  same  way.  They  were  lengthened  by  three  or  four  successive  light  taps, 
after  which  the  end  punctures  were  made  with  the  same  instrument.  The  foregoing 
examples  are  both  from  Bugavita.  Another  tripod  vase  in  which  the  leg  rattle 
is  supplied  only  with  irregular  fragments  of  burnt  clay  is  reproduced  in  figure  Ji. 
Here  some  of  the  punctures  take  the  form  of  a  cross.  This  piece  comes  from 
Escaria. 

It  did  not  require  a  wide  stretch  of  the  imagination  to  arrive  at  the  zoomorphic 
possibilities  of  the  plain  tripod  leg.  By  the  application  of  nodes  and  fillets  of 
clay  to  the  hollow  tripod  supports  they  immediately  assume  animal  forms,  as 


52 


A  STUDY  OK  CHIRIQUIAN   ANTIQUITIKS. 


illustrated  in  figure  62,  which  suggests  man  or  the  ape.  Something  similar  is 
seen  in  an  example  from  Bugavita  (fig.  63).  The  long  arms  are  those  of  the 
monkey,  but  where  the  head  should  be  there  squats  a  little  round-bodied  animal 
with  long  tail. 

But  in  all  probability  the  first  efforts  to  convert  the  ordinary  tripod  leg  into  an 
animal  form  were  much  more  realistic  in  their  results.    Take,  for  example,  figure  64 


Fig.  62. — Tripod   with  zoomorphic  supports. 
Armadillo  ware.     '/» 


Fig.  63. — Tripod  bowl  ;  from  Bugavita. 
Armadillo  ware.     V> 


(also  from  Bugavita).  A  few  nodes  and  fillets,  plain  and  incised,  added  to  the 
usual  type  of  support  bring  out  the  form  of  a  frog,  complete  in  every  detail. 
Somewhat  similar  and  equally  good  results  are  produced  by  the  same  means  in 


Fig.  64. — Tripod  with  froglike  supports  ; 
from  Bugavita.     Armadillo  ware.     '/> 


Fig.  65. — Tripod  of  classic  form,  with 
froglike  supports,  and  rim  ornamented 
with  armadillos.  Armadillo  ware.  '/» 


figure  65.  The  bowl  of  the  latter  is  classic  in  form.  The  rim  is  ornamented  with 
two  armadillos.  The  frog  is  a  favorite  shoulder  ornament  on  vases  of  the  biscuit 
or  armadillo  group. 

As  the  plain  leg  became  more  and  more  disguised  by  the  application  of  nodes 
and  fillets,  its  identity  seems  to  have  been  lost  sight  of,  as  seen  in  Plate  VII, 
where  it  is  a  caricature  of  the  human  form.  In  figures  «,  d  and  e,  there  is  very 
little  alteration  of  the  plain  tripod  support.  A  bifurcation  is  only  hinted  at  in 


THE  ARMADILLO  GROUP.  53 

figures  &,  c  and  /;,  with  a  suggestion  of  toes  in  the  last  two.  The  supports  in  figures/ 
and  g  are  frankly  human,  the  representation  of  the  loin-cloth  removing  all  doubt 
on  this  point.  The  bowl  in  the  former  is  exquisitely  turned,  resembling  in  its 
outline  the  Venetian  renaissance  goblet. 

The  identity  of  the  primitive  leg  form  is  completely  lost  in  figure  66.  Each 
support  is  an  apelike  head  with  four  projecting  tongues  that  fill  and  even  greatly 
distend  the  mouth.  If  the  tripod  were  inverted  it  would  show  a  drooping  left  ear 
on  each  head.  The  potter's  sense  of  humor  shows  to  good  advantage  here  as  well 
as  in  many  succeeding  illustrations.  From  the  view-point  of  modeling,  this  piece 
has  no  superior  in  the  whole  collection.  The  diameter  of  the  cup  is  everywhere 
equal,  as  is  that  of  its  rim,  and  the  distance  separating  the  grotesque  heads  is 
everywhere  the  same.  Other  specimens  from  this  locality,  eight  leagues  west- 
northwest  of  Bugavita  on  the  Acoo  river,  are  also  beautifully  modeled. 

Grotesque  heads  are  often  attached  to  the  rim  of  tripods,  as  illustrated  in 
Plate  VIII,  figures  a  and  b.  These  heads  occur  singly  or  in  twos,  one  on  either 


Fig.  66.— Tripod    bowl     of   superior    modeling,    sup-  Fig.  67. — Tripod  representing  a  primitive  zoo- 

ported  by  three  grotesque  apelike  heads  ;  from  near  morphic  type.     Armadillo  ware.     '/> 

Bugavita.     Armadillo  ware.     '/' 

side.  Sometimes  a  tail  takes  the  place  of  one  of  the  heads.  In  that  case  there 
may  be  four  feet  with  toes  pointing  in  the  direction  of  the  head,  instead  of  three, 
as  in  figure  c.  The  animal  head  on  the  rim  in  this  piece  resembles  that  of  the 
lama,  which  probably  means  either  Peruvian  influence  or  formerly  a  wider  geo- 
graphic range  north.  It  will  also  be  seen  that  the  whole  body  of  the  animal, 
instead  of  the  head  only,  may  appear  on  the  rim  (figures  rf,  e  and  /) ;  and  that 
zoomorphic  features  may  be  shifted  to  the  equatorial  zone,  altering  somewhat  the 
more  or  less  spherical  form  of  the  bowl  (figures  g  and  h\ 

A  further  step  toward  the  conversion  of  the  phytomorphic  into  the  animal  type 
is  taken  in  figures  67  and  68.  The  sculptor's  treatment  of  the  eye  is  an  interesting 
study.  It  is  sometimes  a  plain  node.  More  often  the  node  is  flattened  and  marked 
with  an  annular  indentation  such  as  a  straw  or  hollow  reed  would  make.  But 
the  most  common  method  of  all  is  to  represent  the  eyelids  by  an  incised  line 
across  the  center  of  the  flattened  node.  When  the  latter  is  comparatively  large 
and  set  in  a  shallow  cavity,  it  may  look  exactly  like  the  head  of  a  screw. 

There  is  a  curious  little   group  of  tripods,  showing  a  pair  of  prominent  screw- 


54 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


head  eyes  on  each  support.  Practically  all  of  them  come  from  one  locality. 
Divala.  In  some  of  these,  the  flattened  node  is  dispensed  with  and  a  straight 
incision  made  in  the  shallow  socket.  This  leads  to  a  new  phase  of  the  sculptor's 

art,  where  the  effect  of 
relief  is  produced  by 
shadows  only,  as  wit- 
ness the  spacious  empty 
sockets  in  figure  69.  The 
deeper  shadow  of  a  little 
hole  sunk  in  each  may 
represent  the  pupil.  An- 
other way  of  represent- 
ing theeyeballsbymeans 
of  shadow  is  shown  in 
figure  70.  The  horizontal 
incisions  on  each  sup- 
port are  probably  in- 
tended to  imitate  the 
carapace  of  the  arma- 
dillo. 

The  fish  which,  as  will  be  seen,  is  such  an  important  factor  in  the  so-called 
tripod  group,  is  seldom  reproduced  in  the  armadillo  ware.  An  example  is  shown 
in  figure  71,  which  illustrates  a  pair  of  pectoral  and  ventral  fins,  respectively,  and 
two  dorsal  fins,  serving  to  transform  a  plain  solid  support  into  the  body  of  a  fish. 


Fig.  68. — Vessel  of  zoomorphic  type,  with  four  legs. 
Armadillo  ware.     '/' 


Fig.  69. — Tripod  bowl  showing  sculptor's  use  of  shadows  in 
modeling  the  eye.      Armadillo  ware.     '/> 


Fig.  70. — Tripod  bowl  exhibiting  further 
use  of  shadows  in  modeling  the  eye. 
Armadillo  ware.  '/> 


The  foregoing  tripods  all  belong  to  what  Holmes l  calls  the  terra  cotta  or  biscuit 
group  of  ware.  This  group  also  comprises  vases,  bowls  and  cups.  The  characteristic 
types  of  tripod  are  well  rendered  in  the  preceding  illustrations,  the  ornaments 
being  confined  chiefly  to  the  supports.  Among  the  vases,  on  the  other  hand,  the 


1  W.  H.  Holmes.     Ancient  art  of  the  province  of  Chiriqui.     Sixth  aim.  rept.,  Bur.  Amer. 
ethnol.,  67,   1884-85. 


THE  ARMADILLO  GROUP. 


55 


decoration  is  shifted  to  the  shoulder,  neck  and  handles,  there  being  no  supports 
to  decorate.  In  shape,  the  body  of  the  vase  is  often  identical  with  that  of  the 
tripod.  To  convert  a  tripod  into  a  vase,  one  has  but  to  remove  the  applied 
supports.  To  make  the  kinship  more  apparent,  shoulder  ornaments  or  handles 
are  sometimes  added  to  the  tripods  (see  figs.  65  and  83).  Such  additions,  especially 
of  handles,  are  quite  rare. 


Fig.  71. — Tripod  bowl  with  solid  fishlike  supports. 
Armadillo  ware.     '/> 


Fig.  72. — Bowl  with  annular  base  ;  from  El   Banco. 
Armadillo   ware.     '/« 


Another  form  of  support  suggested  itself  in  the  annular  base  or  foot,  as  seen 
in  a  specimen  (fig.  72)  from  El  Banco.  This  form  of  foot,  like  the  feet  of  the 
tripod,  increased  in  size,  was  sometimes  made  hollow,  slit,  and  supplied  with  pellets, 
as  in  figure  73,  a  handsome  goblet-shaped  vessel  from  Bugavita.  The  latter  specimen 
has  a  greasy  smoky  exterior,  the  blackest  part  being  the  concave  bottom  of  the  base. 


Fig.  73. — Goblet-shaped   vessel ;    from    Bugavita. 
Armadillo  ware.     '/> 


'g.  74-  —  Bowl  supported  by   annular   base 
and  human  figures.     Armadillo  ware.    '/' 


In  the  specimen  exhibited  in  figure  74,  the  bowl  is  supported  not  only  by  an 
annular  base  but  also  by  three  fantastic  human  forms.  There  is  a  hand  at  either 
end  of  each  long  arm,  making  four  in  all  —  two  resting  on  the  head  and  two  on 
the  stomach.  The  thorax  is  eliminated.  Two  animal  heads  adorn  the  rim,  and 
pellets  convert  the  hollow  base  into  a  rattle. 

Legs  and  annular  bases  alike  were  put  on  after  the  bowl  was  shaped  but 
before  the  application  of  the  slip  and  the  polish.  Handles,  plain  and  ornamental, 


56  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

were  also  added,  but  even  these  did  not  suffice  to  obliterate  evidence  of  the  fact 
that  the  vessel  had  passed  through  the  calabash  stage.  All  such  vessels  we 
shall  call  pftytomorphic.  Almost  ninety-eight  per  cent  of  the  whole  Chiriquian 
collection,  painted  and  unpainted,  belong  to  this  class.  The  zoomorphic  class  is 
manifestly  of  later  development.  It  includes  all  pieces  that,  taken  as  a  whole, 
form  each  a  complete  zoomorphic  unit.  Animal  forms  appear,  of  course,  in  the 
phytomorphic  class,  but  only  as  supports,  handles  or  ornamental  features. 

In  studying  the  elaboration  of  simple  forms,  it  is  often  possible  to  determine 
which  is  the  earlier  and  which  the  derived.  In  comparing  one  group  with  another, 
however,  the  evidence  is  not  so  abundant,  yet  it  may  be  possible  to  determine 
which  group  is  the  earlier  and  which  the  later. 

But  when  it  comes  to  individual  specimens,  it  would  be  impossible,  in  the 
present  state  of  our 'knowledge,  to  say  that  any  or  all  of  the  specimens  of  terra 
cotta  ware  antedate  any  or  all  of  the  examples  of  the  alligator  group,  for  example. 
Nevertheless,  my  personal  belief  is  that  the  ancient  inhabitants  of  Chiriqui  were 
making  biscuit  ware  of  a  high  order  of  excellence  before  they  ever  learned  to 
paint  figures  of  the  alligator  that  occur  so  often  in  the  group  of  that  name. 

The  armadillo  group  certainly  stands  for  a  high  degree  of  perfection  in  the 
potter's  art.  But  a  high  grade  of  excellence  may  appear  at  an  early  stage  in 
any  great  art-awakening,  as  is  attested  by  the  paleolithic  sculpture,  engraving  and 
frescoes  of  the  Dordogne,  France,  the  Phidian  age  in  Greek  sculpture,  and  the 
Italian  paintings  of  the  XVth  and  XVIth  centuries. 

Perhaps  the  chief  reason  for  believing  that  the  armadillo  group  represents  an 
early  stage  of  excellence  lies  in  the  fact  that  individuality  is  stamped  on  almost 
every  piece.  The  fundamental  forms  are  few ;  but  the  variations  in  the  execution 
of  these  forms  are  multifarious.  The  modeling  seldom  fails  to  please,  and  the 
interior  is  finished  with  the  same  care  as  the  exterior,  with  the  exception  of  the 
zone  nearest  a  constricted  mouth  that  is  too  small  to  admit  the  hand  of  the 
modeler.  The  ornamentation  is  confined  to  figures  in  the  round,  and  patterns 
incised  and  in  relief;  but  is  always  as  tasteful  as  it  is  rich  in  variety. 

Contrast  these  manifold  variations  in  form  and  ornamentation  with  the  monotony 
of  the  handled  group,  for  instance,  and  the  latter's  shop-made  character  becomes 
most  striking.  With  the  addition  of  the  new  element  of  color,  one  would  expect 
to  see  progress  in  ornament  if  not  in  form,  yet  such  is  not  the  case.  The  same 
unattractive  form  is  repeated  again  and  again,  the  only  variable  factor  being  in 
the  treatment  of  the  handles. 

From  the  view-point  of  form,  the  lost  color  group  and  the  alligator  group  are 
also  more  monotonous  than  is  the  armadillo  group,  and  less  attention  is  paid  to 
modeling.  This  is  particularly  true  of  the  interior  of  the  vessels,  which  is  left 
in  the  rough,  thus  causing  the  sides  to  be  thick  in  some  places  and  thin  in  others. 
The  bottom  is  generally  quite  thick.  The  latter  condition  may  have  been  intentional 
in  order  to  secure  more  stable  equilibrium.  Such  work  may  be  compared  to 
that  of  an  artist  who  is  in  too  great  haste  to  give  up  drawing  for  the  palette 
and  brush. 

The  Armadillo  Motive. — Among  the  animals  represented  in  this  group,  the  arma- 
dillo is  easily  predominant.  In  speaking  of  the  American  zoological  provinces 


THE  ARMADILLO  GROUP.  57 

north  and  south  of  the  Mexican  table-land,  Seemann1  says:  "The  armadillo,  for  in- 
stance, which  indisputably  belongs  to  South  America,  is  found  in  no  part  of  Panama ; 
but  again  appears  in  the  neighborhood  of  Mazatlan,  in  latitude  23°  12' 0"  north." 

This  is  probably  incorrect.  A  recent  letter  from  Dr.  J.  A.  Allen,  Curator  of  the 
Department  of  Mammalogy  and  Ornithology,  American  Museum  of  Natural  History, 
states  that  two  species  belonging  to  different  genera  are  found  on  the  Isthmus 
of  Panama  at  the  present  time,  one  known  as  Cabassous  centralist,  the  other  being 
the  wide-ranging  nine-banded  armadillo,  Tatu  novemcinctum.  The  armadillo  was 
evidently  an  object  familiar  to  the  ancient  potters  of  Chiriqui.  As  it  now  inhabits 
the  Isthmus,  it  did  so,  no  doubt,  on  the  occasion  of  Seemann's  voyage  in  1853. 
One  of  the  two  species  above  mentioned,  Tatu  novemcinctum,  which  has  "  an  ex- 
tensive range  from  Texas  to  Paraguay," 2  is  recognized  in  the  ceramic  art  of 
Chiriqui  by  the  treatment  of  the  carapace,  which  is  composed  of  three  quite 
distinct  regions,  the  banded  region  differing  in  structure  from  the  anterior  and 
posterior  sections.  This  triple  division  of  the  carapace  is  faithfully  reproduced  in 
many  instances.  It  may  be  done  by  three  incised  fillets  (see  figs.  77  and  79).  A 
more  exact  delineation,  however,  is  arrived  at  in  painted  ware,  when  the  banded 
region  is  represented  by  transverse  parallel  lines  and  the  anterior  and  posterior 
division  by  cross  lines  or  spots  (see  PI.  XLI,  fig.  a).  In  one  instance  (see  fig.  270), 
the  middle  section  is  composed  of  three  bands  in  relief,  painted  red ;  while  over 
the  shoulders  and  the  hips,  the  smooth  surface  of  the  carapace  is  painted  black. 
This  specimen  more  nearly  resembles  the  small  Tatu  tricinctum  of  South  America 
than  it  does  the  larger  nine-banded  species. 

That  Cabassous  centralis  also  served  the  ancient  potter  as  a  model  is  highly 
probable.  The  three  regions  of  the  carapace  are  almost  as  distinct  as  in  the  nine- 
banded  armadillo,  but  Cabassous  is  not  quite  so  large  and  its  head,  ears  and  tail 
are  proportionately  shorter. 

In  the  development  of  art,  it  would  be  difficult  to  estimate  how  far  realism  lies 
from  the  very  first  steps  toward  imitation  on  the  one  hand,  and  from  the  last 
stages  of  conventionalism  on  the  other.  The  stages  at  either  end  of  the  line 
may  often  appear  to  be  identical.  It  is  therefore  hazardous  to  decide  whether  a 
given  representation  be  a  first  attempt  at  copying  a  model  or  the  work  of  a  man 
with  a  background  of  art  inheritance  and  training,  who  can  suggest  the  whole 
by  a  skilful  elimination  of  non-essentials. 

If  the  line  of  art  development  were  plotted,  it  would  probably  be  found  to  rise 
rather  suddenly  to  the  acme  of  realism,  and  then  drop  slowly  to  about  its  original 
level.  The  accompanying  series  of  illustrations,  however,  does  not  begin  at  the 
beginning  but  rather  at  the  crest  of  the  realistic  wave,  and  descends  gradually 
to  the  trough,  probably  that  one  lying  on  the  conventional  side ;  yet  some  of 
the  stages  shown  might  just  as  well  be  steps  in  the  ascending,  as  in  the  descend- 
ing scale.  In  other  words,  a  definite  chronological  sequence  has  not  yet  been 
established.  There  are  reasons,  however,  for  the  belief  that  a  representation  of 
the  entire  armadillo  came  first,  after  which  certain  parts,  such  as  the  carapace, 

1  Op.  cit,  I,  261. 

2  Flower  and  Lydekker.     An  introduction  to  the  study  of  mammals,  201,  London,  1891. 
MKMOIRS  CONN.  ACAD.,  Vol.  III.  8 


58 


A  STUDY  OF  CHIKIQUIAN  ANTIQUITIES. 


were  seized  upon  to  take  the  place  of  the  whole.  Finally  a  single  band  of  the 
carapace  was  chosen,  not  only  to  stand  for  the  whole  animal,  but  also  to  be  used 
as  an  ornamental  motive  pure  and  simple. 

Three  realistic  armadillos  support  the  tripod  shown  in  figure  75.  The  work 
has  an  unfinished  appearance,  but  the  parts  are  all  represented,  even  to  the  three 
regions  of  the  carapace.  In  figure  76,  the  parts  are  all  present,  but  the  legs  of 
the  armadillo  are  reduced  to  feet  only.  In  a  specimen  from  Escaria  (fig.  77)  the 


Fig.  75. — Bowl   supported  by  three  realistic  armadillos, 
dillo  ware.     '/> 


Arma- 


Fig.  76. — Howl  with  similar  tripod  supports 
the  extremities  of  the  armadillo  being 
reduced  to  feet  only.  Armadillo  ware.  V1 


reduction  is  carried  further  by  the  total  elimination  of  the  hindlegs  and  hindfeet. 
The  one  essential  feature  of  the  armadillo  is  the  carapace.  This  persists  after  all 
other  parts  have  been  eliminated,  as  shown  in  figure  78,  where  it  is  represented 
by  horizontally  arranged  incisions. 

A  more  detailed   series  showing  the  gradual   elimination   of  parts  is  given   in 
Plate  IX.     The   armadillo    is   represented    in   the   round  in  figure  a.     The  simple 


g'  77- — Tripod  bowl  in  which  the  hindlegs  and  feet  of  the 
armadillo  are  eliminated  from  the  supports.  Armadillo 
ware.  '/» 


Fig  78. — Tripod  the  supports  of  which  are 
ornamented  with  carapace  motives  only.  Ar- 
madillo ware.  V» 


tripod  support  in  figure  b  is  incised  to  represent  the  carapace ;  an  indifferent  head 
is  added  and  the  hindfeet  are  brought  forward  close  to  the  forefeet.  In  figure  c, 
the  hindfeet  have  entirely  disappeared  and  the  forefeet  are  conventionalized,  a 
flattened  node  with  parallel  incisions  representing  toes.  This  becomes  eventually 
a  decorative  motive  that  is  used  independently  of  the  armadillo  or  any  other  animal 
form.  The  head  is  considerably  reduced  and  simplified  in  figures  d  and  e,  the 


THE  ARMADILLO  GROUP. 


59 


legs  and  feet  having  disappeared  completely.  In  the  latter  figure,  the  carapace  is 
suggested  by  the  nail  marks  of  what  appears  to  be  a  female  hand.  In  figure  </, 
the  head  and  forefeet  reappear  as  plain  nodes,  while  the  carapace  is  wanting. 
The  series  ends  (fig.  f)  with  simple  tripod  supports  horizontally  incised  to  represent 
the  carapace,  the  armadillo  motive  par  excellence. 


Fig.  79. — Vase  with  shoulder  ornament  in  which  the 
carapace  motive  is  present  on  ventral  surface  only. 
Armadillo  ware.  '/" 


Fig.  80. — Vase  with  shoulder  ornament  showing 
but  two  divisions  of  the  ventrally  placed  cara- 
pace. Armadillo  ware.  '/« 


We  have  seen  that  many  tripod  supports  were  fashioned  to  resemble  the 
armadillo,  sometimes  highly  realistic  and  sometimes  conventionalized.  In  eighty- 
one  of  the  biscuit  vases,  the  head  of  the  armadillo  is  employed  as  a  shoulder 
ornament,  the  back  of  the  head  always  being  turned  toward  the  aperture  of  the 
vase.  The  carapace,  there- 
fore, if  it  were  visible  at 
all, would  have  to  be  shifted 
from  the  dorsal  to  the  ventral 
side.  Such  is  the  case  in 
figure  79,  where  the  three 
regions  of  the  carapace  are 
indicated  by  the  indented 
horizontal  fillets,  each  being 
interrupted  for  a  space  in 
the  median  ventral  line, 
which  is  only  a  concession  Fi&-  8l--Vase  ^ith  sho«!del:  °rna- 

7  ment   and    only  one  division    of 

to  realism,  since  the  bands  the    ventrally    placed    carapace. 

Armadillo  ware.     '/' 


Fig.  82. — Cup  with  shoulder 
ornament  on  which  an  un- 
broken band  represents  the 
ventrally  placed  carapace  mo- 
tive. Armadillo  ware.  '/' 


do  not  reach   the   median 

line  in  nature.     A  ventral 

view   would  include  the  margins  of  the  carapace   on  either  side.     It  is  important 

to   note,    however,    that    no   attempt  is  made  to  represent   the   dorsal   part  of  the 

carapace  where  it  would  not  be   easily  visible.     Only  two   divisions   of  the  cara- 


60 


A  STUDY  OF  CHIRIQU1AN  ANTIQUITIES. 


pace  are  present  in  figure  80,  while  in  figure  81,   but  a  single  section  remains. 
The  eyes  and  ears  still  persist. 

Sometimes  the  carapace  is  carried  across  the  ventral  surface  without  a  break 
at  the  median  line.  An  example  of  this  is  seen  in  figure  82,  where  a  single  band 
represents  the  entire  carapace.  This  band  does  not  appear  on  the  dorsal  surface. 
The  identity  of  these  shoulder  ornaments  might  be  in  doubt  were  it  not  for  the 
occasional  ventrally  placed  carapace  motives.  One  of  the  connecting  links  be- 
tween the  tripods  and  vases  (fig.  83)  belongs  to  this  type.  A  single  element  of 
the  carapace  is  placed  on  the  ventral  side,  the  ends  of  the  two  incised  fillets  almost 
touching  the  median  ventral  line ;  while  another  carapace  element  is  applied  longi- 
tudinally over  the  vertebral  column.  The  eyes,  ears  and  nose  are  all  prominent. 


Fig.  83. 


Fig.  84. 

I'ig-  83. — -Tripod  vase  with  shoulder  ornament  to 
which  carapace  motives  are  applied  both  dor- 
sally  and  ventrally.  Armadillo  ware.  V> 

Fig.  84. — Large  vase  with  armadillo  shoulder  or- 
naments from  which  the  carapace  motive  is 
absent.  Armadillo  ware.  '/» 


In  a  majority  of  cases  the  carapace  is  entirely  eliminated,  the  forelegs 
usually  and  quite  naturally  taking  its  place  (PI.  X,  figs,  a  and  b}.  The 
animal  foot  reduced  to  its  lowest  terms  is  seen  in  figure  c,  it  being  a  flattened 
node  with  parallel  incisions.  This  conventionalized  foot  will  appear  purely  as  an 
ornament  in  a  group  of  vases  to  be  described  later.  Even  the  conventionalized 
foot  does  not  always  accompany  the  armadillo  head  (fig.  d).  The  reduction  in 
parts  and  in  size  of  the  head  itself  reaches  the  limit  in  figures  e  and  /. 

Two  of  the  largest  vases  belonging  to  the  armadillo  ware  have  armadillo  heads 
in  the  round  for  shoulder  ornaments.  One  of  these  is  reproduced  in  figure  84. 
The  shape  is  graceful  and  the  modeling  so  perfect  as  to  compare  favorably  with 
wheel-work.  The  ears  of  the  armadillo  are  placed  low,  the  eyes  are  wanting, 
and  the  nose  is  much  depressed.  Vases  of  the  armadillo  ware  even  finer  and 
larger  than  this  one  have  been  found  at  Boruca,  south  of  Terraba,  Costa  Rica. 
Mr.  Minor  C.  Keith  has  one  splendid  specimen  that  came  from  a  grave  at  Mercedes 
on  the  Atlantic  coast  of  Costa  Rica.  It  was  evidently  an  importation,  but  the 


THE  ARMADILLO  GROUP. 


61 


geographic  distribution  of  this 
ware  must  be  extended  at  least 
to  take  in  the  region  bordering 
on  the  Gulf  of  Dulce  in  Costa 
Rica. 

The  entire  armadillo  is  often 
used,    also,   as   a   shoulder  de- 
coration on  vases  of  this  group. 
Some  good  examples  are  given 
in    Plate    XL     In    figure   a   the 
parts,  even  to  the  three  regions 
of  the   carapace,   are  all   fairly 
well  indicated.   The  forefeet  rest 
on  the  rim,  the  hindfeet  on  the 
shoulder  of  the  vessel.   A  small 
vase  from  Escaria  (fig.  6)  shows 
the  armadillo  placed  somewhat 
lower  and  in  an  attitude  as  if  in 
the   act   of  burrowing    with    its 
unusually   long  nose.     In   fact, 
the  burrowing  attitude  is  char- 
acteristic and  is  very  satisfactorily 
shown    in    figure  c.     Note  that 
the  feet  here  are  flattened  nodes 
with  parallel  incisions.    In  other 
words,   they    are   foot    symbols 
that  may  be  used  entirely  alone, 
independent  of  the  animal  form 
to  which  the  foot  originally  be- 
longed, as  will  be  seen  in  sub- 
sequent illustrations  (see  fig.  90). 
The   tail    is  incised   with  a  so- 
called  herring-bone  pattern,  the 
lines  running,   however,  in   the 
opposite  direction  from  what  one 
would  expect.     The  flaring  rim 
of  the  vase  is  set  so  as  to  pro- 
duce   a    diaphragm   where    the 
neck  is  most  constricted.     The 
use   of  the  foot    symbol   as    an 
independent  ornament  is  shown 


Fig.  85. 


Fig.  86. 


Fig.  87. 


Fig.  88. 


in    fiffUre  d,    where    it    OCCUrS    in  Fig.  85.— Neck   of   vase    ornamented  with    the   tail    motive.     Arma- 

,.,.  a/ 

pairs    on    the   neck    of  the    vase.  Rg.  ^.— Another  example  of  the  tail  motive.     Armadillo  ware.     ''• 

By    a   comparison    of    the    arma-  Fig.  87.— Neck   of  vase  ornamented  with  alternating  groups  of  tail- 

,.,,             .,        .        r.                        '4.1     *i  and  eve-motives.     Armadillo   ware.     */' 

dlllo     tails     in    figure    e   With    the  F|g    gg  j_Neck  of  vasc  decorated  with  tail  motive  in  meander,  and 

Ornament    on    the    neck     of    the  an  eye  symbol   in  each  angle.     Armadillo  ware.     ''« 


62 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


vase   in  figure  /,  it  will  be  seen   that  the   tail  was  used  apart  from  the  animal  as 

a  decorative  feature. 

The   tail  motive   is   often   repeated   in    a  series   that  completely    surrounds   the 

neck  of  a  vase  otherwise  devoid  of  plastic  animal  ornamentation  (figs.  85  and  86). 

In  figure  87  groups    of  beautifully   executed  tail  motives  alternate  with  groups  of 

a  motive  derived  apparently  from  the.  eye.     Another  effective  pattern  is  obtained 

by  carrying  the  tail  symbols  in  meander  around  the  neck  of  a  vase,  each  angular 

space  being  filled  in  by  an  eye  symbol,  as  in  figure  88. 

The  most  characteristic  feature 
of  the  armadillo  is  its  carapace. 
It  ranks  first  among  armadillo 
motives.  We  have  already  noted 
how  one  band  of  the  carapace 
was  made  to  stand  for  all  three 
divisions.  Why  could  it  not 
have  been  used  independently 
to  represent  not  only  the  whole 
carapace  but  also  the  whole 
animal?  A  careful  comparison 
of  the  incised  fillets  that  adorn 
the  neck  of  the  vase  shown  in 
figure  89,  with  the  incised  fillet 
that  represents  the  carapace  of 
the  armadillo  on  the  shoulder 
below,  proves  them  to  be  identi- 
cal. We  have  then  a  carapace 
symbol  as  well  as  a  foot  symbol 
and  a  tail  symbol.  There  remain 
the  flattened  nodes  with  annular 


Fig.  89. 


Fig.  90. 


indentations  seen  on  the  neck 
of  the  same  vase.  Their  coun- 
terpart is  somewhat  sparingly 
used  to  represent  the  eye,  par- 
ticularly of  owl-like  and  monkey- 
like  heads.  They  are,  no  doubt, 
eye  symbols,  but  they  are  not 
confined  to  Chiriquian  art.  On 
the  contrary,  this  particular  or- 
nament is  common  to  the  art 
of  various  times  and  peoples.  The  carapace  symbol  like  the  tail  symbol  makes 
an  attractive  meander  in  combination  with  either  foot  symbols  (fig.  90)  or  eye 
symbols  (fig.  91).  With  due  regard  to  their  mode  of  occurrence  in  nature  the 
foot-  and  eye-symbols  alternate  in  groups  of  four  and  two,  respectively,  forming 
an  original  pattern  (fig.  92),  but  one  not  so  pleasing  as  the  foregoing  meanders. 
Foot,  tail,  eye  and  carapace,  all  may  become  purely  decorative  elements  used 
independently  of  the  whole  animal  and  independently  of  each  other ;  separately 


Fig.  91. 

Fig.  89. — Neck  and  shoulder  ornament  of  a  vase  proving  the 
identity  of  the  carapace  motive.  Armadillo  ware.  '/' 

Fig.  90. — Meander  of  'carapace  symbols  accompanied  by  foot 
symbols.  Armadillo  ware.  '/• 

Fig.  91. — Double  neck  of  vase,  ornamented  with  carapace-  and 
eye-symbols.  Armadillo  ware.  '/> 


THE  ARMADILLO  GROUP. 


63 


or  in  combination  one  with  another,  producing  patterns  as  pleasing  to  the  eye  as 
they  are  original.  In  the  figures  here  cited,  the  eye  symbol  is  one  of  the  com- 
mon forms  of  representing  the  eye  in  Chiriquian  art,  viz.,  a  flattened  node  with 
annular  indentations.  Another  type  will  be  described  on  a  subsequent  page. 

Vases,  are  often  supplied  with 
a  raised  zone  or  collar  below 
the  neck,  as  has  already  been 
pointed  out.  The  collar  is 
usually  adorned,  but  not  al- 
ways. When  it  is  decorated 
the  neck  proper  is  generally 
plain.  The  collar  ornament 
always  consists  of  incised  lines 

Fie.  Q2. — Neck    of    vase    showing    foot-    and    eye-symbols   in   alter-  •     j  ,•  T-I, 

nation.  Armadillo  ware.  V  or  indentations.  These  are 

sometimes  combined  in  such 

a  way  as  to  produce  effective  patterns.  Figures  a  and  b  of  Plate  XII  show  ex- 
amples of  collared  vases,  the  latter  being  provided  with  an  unusually  large  aperture. 

In  the  Yale  collection,  there  are  several  vases  with  two  mouths.  With  two 
exceptions,  these  belong  to  the  armadillo  ware.  Three  are  reproduced  in  Plate  XII. 
In  figure  c,  which  represents  an  excellent  example,  a  bridge  connects  the  flange  or 
lip  of  one  mouth  with  that  of  the  other.  Over  this  bridge  two  armadillos  face  each 
other.  The  identity  of  the  carapace  with  the  carapace  symbols  that  adorn  both 
necks  is  beyond  question.  Alternating  with  these  symbols  are  eye  ornaments, 
after  the  fashion  of  the  prevailing  eye  form  in  Chiriquian  art. 


Fig.  92. 


ig-  93- — Vase,  the  single  handle  of  which  is 
ornamented  with  carapace  motives.  Arma- 
dillo ware.  '/' 


Fig.  94. — Vase  with  two  undecorated  handles.     Ar- 
madillo ware.     '/> 


Sometimes  the  paired  necks  are  perfectly  plain.  Occasionally  they  are  set 
rather  far  apart,  as  in  figure  d,  or  fused  as  in  figure  e.  In  the  latter  case,  a 
vertical  partition  wall  in  the  plane  of  fusion  divides  the  interior  into  two  equal 
parts,  thus  making  a  double  vessel. 


64  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIHS. 

A  study  of  the  foregoing  illustrations  will  bring  out  the  interesting  fact  that 
where  either  the  neck  or  the  collar  is  decorated  there  is  always  a  flange  or  lip 
at  the  mouth  opening.  On  the  other  hand,  where  the  neck  (or  collar)  is  unadorned 
there  is  almost  never  a  flange  (see  PI.  X).  The  latter  seems  to  be  a  necessary 
accompaniment  of  the  ornamented  neck  or  collar  to  satisfy  the  sense  not  only 
of  protection  for  the  ornament  but  also  of  appropriateness  in  outline. 

Reference  has  been  made  to  tripods  with  features  peculiar  to  vases,  viz.,  shoulder 
ornaments  consisting  either  of  the  armadillo  head  (see  fig.  83)  or  of  the  entire 
animal.  Examples  of  the  latter  are  given  in  figure  /'  (see  also  fig.  65).  In  one 
instance  the  nose  and  tail  are  long  and  slender;  in  the  other,  owing  to  the 
exposed  position  of  the  head,  the  nose  is  almost  eliminated  to  avoid  breaking. 

It  has  been  shown  how  the  simple  tripod  support  may  be  transformed  into  the 
armadillo,  conventional  as  well  as  realistic ;  also  how  the  armadillo,  as  a  whole 
Or  in  part,  was  used  as  a  shoulder  ornament,  and  the  tail-,  foot-,  eye-  and  carapace- 
symbols,  as  ornamental  motives  for  the  necks  of  the  handles  of  vases. 

The  handles  of  the  armadillo  group  are  always  placed  vertically,  and  are  usually 
paired,  connecting  the  lip  with  the  shoulder.  Of  single  handle  there  are  two 
types;  (1)  connecting  the  lip  with  the  shoulder,  as  in  the  paired  handles,  and 
(2)  the  handle  starting  from  opposite  points  on  the  lip  and  forming  an  arch  over 
the  mouth  opening. 

These  handles  are  generally  ornamented,  as  illustrated  in  Plate  XIII.  The  paired 
handles  shown  in  figure  a  are  not  only  adorned  with  three  horizontally  applied 
incised  fillets  representing  the  three  sections  of  the  armadillo  carapace,  but  are 
also  surmounted  each  by  a  pair  of  ears  to  heighten  the  zoomorphic  effect.  Those 
in  figure  b  are  entirely  covered  with  carapace  motives,  leaving  no  doubt  as  to 
the  significance  of  the  decoration.  Along  the  zone  of  union  between  the  pro- 
longed lip  and  the  ascending  ramus  of  the  handles  in  figure  c,  nodes  and  fillets 
are  applied  representing  the  ears,  feet  and  carapace  of  the  armadillo.  One  has 
but  to  refer  back  to  figure  a  (PI.  XI)  in  order  to  arrive  at  the  artist's  point  of 
view,  namely,  that  the  handles  illustrated  in  figures  a  to  e  are,  to  all  intents  and 
purposes,  armadillos  facing  each  other  and  peeping  into  the  mouth  of  the  vase. 
The  armadillo  motive  in  figure  d  is  similar  to  that  in  figure  c,  except  that  it  is 
much  more  simplified. 

Instead  of  applied  incised  fillets,  the  handle  itself  may  be  simply  incised  to 
represent  the  armadillo  carapace,  as  in  figure  e.  From  the  horizontally  applied 
fillets  and  the  horizontally  incised  handles,  it  is  but  a  step  to  fillets  and  incisions 
running  obliquely ;  and  a  second  step  to  the  twisted  handle  so  common  in  the 
tripod  group,  so-called,  as  will  be  seen  by  comparing  figures  b  and  e  with  sub- 
sequent illustrations  (see  fig.  125).  In  figure  145,  the  eyes  are  actually  represented, 
so  that  the  twisted  handle  evidently  means  a  life  form,  probably  the  armadillo. 

An  example  of  one  type  of  single  handle  is  given  in  figure  /.  A  well-developed 
flange  protects  the  applied  tail-  and  eye-symbols  about  the  neck  of  the  vase, 
illustrating  again  the  sense  of  protection  for  the  decorations  in  relief  and  of  ap- 
propriateness in  outline.  On  the  crest  of  the  handle,  three  eye  ornaments  in  a 
row  occupy  a  field  bounded  on  two  sides  by  carapace  motives. 

The  armadillo  motive  in  figure  93  is  limited  to  a  pair  of  incised  fillets  applied 


REVISED  CLASSIFICATION. 


65 


horizontally  to  the  single  lateral  handle.  The  paired  handles  in  figure  94  are 
unadorned.  A  vase  with  angular  outlines  and  single  handle  forming  an  arch  over 
the  aperture  and  attached  to  the  rim  at  either  side  is  represented  in  figure  95. 

An  unusual  treatment  of  the  armadillo  is  seen  in  figure  96.  The  head  barely 
protrudes  beyond  the  carapace  and  the  latter  almost  encircles  the  body  of  the 
animal.  A  long  fillet  encircling  a  head  on  the  flat  handle  in  figure  97  may  be 
a  conventionalized  form  of  the  armadillo.  A  similar  motive  appears  in  figure  a 
of  Plate  XVI  (see  also  fig.  130). 


Fig.  96. 


Fig.  95- 


ig-  97- 


Fig.  95. — Vase  with  single  handle  forming  an  arch  over  aperture.     Armadillo  ware.     '/» 
Fig.  96. — Cup  with  single  shoulder  ornament  representing  the  armadillo.     Armadillo  ware.     V> 
Fig.  97. — ('up    with   single    flat    handle   showing    possibly    a   conventionalized    form   of   the  ar- 
madillo.     Armadillo   ware.      V» 

Revised  Classification. — From  the  foregoing  illustrations  it  is  quite  evident  that 
the  armadillo  must  have  played  an  important  decorative  as  well  as  symbolic  role 
among  the  makers  of  the  biscuit  ware.  The  frog  is  not  a  very  close  second. 
After  these  come  a  number  of  animal  forms  more  or  less  fantastically  treated  and 
not  always  determinable. 

Of  the  3668  pieces  of  pottery  in  the  Yale  collection,  1620  belong  to  the  arma- 
dillo group.  Of  these  about  one-fifth  are  decorated  with  the  armadillo  motive  in 
one  or  several  of  its  many  forms,  the  occurrence  of  other  animal  representations 
being  rare  in  comparison.  Among  the  makers  of  this  ware,  the  preponderating 
influence  of  the  armadillo  suggests  the  totemic  potency  of  this  animal.  Why  not, 
then,  call  this  group  the  armadillo  group? 

Such  a  terminology,  together  with  the  change  from  "  black  incised "  to  serpent 
group,  as  I  have  suggested  on  page  47,  would  tend  toward  uniformity.  For  sim- 
ilar reasons,  the  "tripod''  group  of  Holmes  might  well  be  called  the  fish  group.1 

1  According  to  Seemann,  the  quantity  of  fish,  especially  in  the  Bay  of  Panama,  early 
gave  rise  to  the  name  of  Panama,  or  place  where  fish  abound.  Fish  are  also  abundant  in 
the  rivers. 

MEMOIRS  CONN.  ACAU.,  Vol.  III.  9 


66 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


All  these  changes  would  be  in  line  with  Holmes's  choice  of  the  name  alligator 
for  one  of  the  important  groups  of  painted  ware.  The  names  of  life  forms  would 
then  be  given  to  four  groups,  instead  of  to  one  only. 

By  incorporating  the   proposed  changes  into  the   classification  of  Holmes,1  the 
result  is  as  follows : 

a)  Unpainted  ware : 

1.  Armadillo  group  (instead  of  "terra  cotta"  or  "biscuit''  group). 

2.  Salmon-colored  group. 

3.  Serpent  group  (instead  of  "black  incised"  group). 

4.  Handled  group. 

b)  Painted  ware: 

1.  Handled  group. 

2.  Fish  group  (instead  of  "  tripod  "  group). 

3.  Chocolate  incised  group. 

4.  Scarified  group. 

5.  Maroon  group. 

6.  Red  line  group. 

7.  White  line  group. 

8.  Lost  color  group. 

9.  Alligator  group. 
10.  Polychrome  group. 

The  armadillo  still   enters  largely  into  the  life  of  certain  tribes.     According  to 
Dr.  A.  Hrdlicka,2  it  is   a  cherished   article  of  food  among  the  Indians  of  western 

Mexico,  and  medicinal  pro- 
perties are  ascribed  to  certain 
parts.  The  Cora  Indians,  for 
instance,  save  the  carapace 
and  administer  decoctions  of 
it  as  a  cure  for  stomach  dis- 
orders. In  this  connection 
it  is  of  interest  to  recall  that 
the  nine-banded  armadillo  ap- 
pears in  ancient  Mayan  picture 
writing. 

As  has  been  stated,  the  de- 
corative features  of  the  arma- 
dillo group  are  limited  to 
figures  in  the  round  and  to 
patterns  either  incised  or 
in  relief.  They  are  also 
generally  limited  in  location 


Fig.  98. — Vase  with  shoulder  ornaments  representing  the  frog,  probably 
the  Surinam  Toad  (Pipa  americana).     Armadillo  ware.     'I* 

1  Op.  cit.,  67,  80  and  84. 

a  Personal  letter,  dated  Oct.  4,  1906. 


to     the     shoulders,     collars, 
necks,    feet   and   handles    of 


THE  ARMADILLO  GROUP.  67 

the  vessels.  Shoulder  ornaments  are  always  in  the  round.  The  frog  is  a  favorite 
subject  with  the  potters,  a  number  of  species  being  represented.  A  rather  long- 
nosed  variety,  with  eyes  placed  far  back  and  a  number  of  cup-shaped  markings 
scattered  over  the  back,  is  given  in  figure  98.  It  is  probably  the  Surinam  Toad 
(Pip  a  americana)  and  the  markings  may  represent  the  eggs  that  are  placed  on  the 
back  of  the  female  by  the  male,  each  egg  sinking  into  a  little  pouch  of  skin 
covered  by  a  gelatinous  film.  The  embryos  develop  in  these  little  pouches.  Or 
it  may  be  the  u  very  minute  species,  beautifully  spotted  with  black  and  red,"  * 
that  is  said  to  be  used  bv  the  Indians  to  poison  arrows.  The  most  logical  way 
to  suggest  spots  would  be  by  markings  of  this  sort,  as  paint  was  not  used  in  this 
group  of  ware.  A  short-bodied  species  is  represented  in  a  vase  from  Divala  (fig.  99). 
The  eyes  are  indicated  by  indentations  instead  of  by  the  usual  incised  nodes. 


Fig.  100.— Frog  illustrating    the   cc- 

Fig.  99- — Vase  with  frog  shoulder    ornaments;  ramie  type  of  technique.  Armadillo 

from  Divala.     Armadillo  ware.     '/>  ware.     V1 

Other  varieties  are  brought  together  in  Plate  XIV.  Figure  a  shows  a  charac- 
teristic example  of  the  adaptation  of  ornament  to  form.  The  noses  of  the  frogs 
project  above  the  level  of  the  rim.  This  gracefully  turned  vase  is  from  Jacu. 
Mention  has  already  been  made  of  the  influence  of  technique  in  one  medium  over 
that  in  another.  A  good  illustration  of  this  is  to  be  found  in  figure  b,  where  the 
unduly  flattened  and  attenuated  hindfeet  are  exactly  analogous  in  treatment  to 
the  hindfoot  that  is  characteristic  of  the  frog  in  metal.  Evidently  the  potter  has 
here  taken  his  cue  from  the  goldsmith  (see  fig.  344).  In  addition  to  the  shoulder 
ornaments  in  the  round,  the  collar  bears  a  neatly  incised  pattern. 

Another  example  of  metal  technique  executed  in  clay  is  to  be  seen  in  figure  c, 
where  the  hindfeet  of  each  pair  of  frogs  are  represented  by  a  long  flat  band  of 
clay.  One  has  but  to  compare  this  with  its  prototype  in  metal  (see  fig.  345). 
In  the  latter  case,  however,  only  the  median  legs  of  the  pair  are  actually  united. 

As  a  rule,  figures  in  the  round  used  as  ornaments  are  attached  to  the  finished 
surface  of  the  vessels.  But  in  figure  d,  a  perfectly  modeled  vase,  each  frog  covers 
an  oval  horizontally  flattened  opening  on  the  shoulder  of  the  vase.  The  margins 
of  the  holes  are  neatly  finished  and,  in  connection  with  the  mouth  openings  of 
the  frogs,  may  have  served  as  spouts.  The  feet  of  the  frogs  are  of  the  flattened 
metallic  type.  This  attenuated  tvpe  may  have  originated  in  an  effort  to  represent 

1  B.  Seemann.     Op.  cit.,  I.,  265. 


68 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


the   web-foot   of  the   frog,   something   that   would    hardly    have    been   attempted 
originally  in  clay. 

The  goldsmith,  on  the  other  hand,  sometimes  borrowed  forms  that  are  essentially 
ceramic  in  character,  as  when  figure  100  was  copied  more  or  less  faithfully  in 
figure  347,  which  represents  in  metal  a  short  round-bodied  frog  with  bulging  eyes 
and  a  median  dorsal  band  reaching  from  the  nose  to  the  end  of  the  spinal  cord. 
In  the  terra  cotta  frog,  the  body  is  hollow  and  supplied  with  a  clay  pellet;  the 
eyes  are  solid  lumps  of  clay.  In  the  metal  frog,  the  bell-shaped  eyes,  provided 
with  pellets  of  copper,  function  as  rattles.  The  ornaments  on  the  shoulder  of  the 
vase  reproduced  in  figure  101  resemble  the  frog  in  the  tadpole  stage. 


Fig.  101. — Vase  with  shoulder  ornaments  re- 
presenting frog  in  tadpole  stage.  Armadillo 
ware.  '/> 


Fig.  102. — Vase   with   zobmorphic   shoulder    orna- 
ment.    Armadillo   ware.     'I' 


The  frog  was  abundant,  especially  during  the  wet  season,  January  to  April, 
and  must  have  been  an  important  totemic  animal.  In  speaking  of  the  abundance 
of  toads  about  Porto  Bello,  Seemann  quotes  Lloyd,  as  follows :  "  So  prodigious  is 


Fig.  103. — Vase  with  grotesque  zoomorphic  shoulder 
ornament.     Armadillo  ware.     '/» 


Fig.  104.  — Fantastic  zoomorphic    shoulder    decora- 
tion.     Armadillo  ware.      /• 


their  number  after  rain,  that  the  popular  prejudice  is  that  the  rain-drops  are  changed 
into  toads  (' de  cada  gota  viene  un  sapo');  and  even  the  more  learned  maintain 
that  the  eggs  of  this  animal  are  raised  with  the  vapor  from  the  adjoining  swamps, 
and,  being  conveyed  to  the  city  by  the  rains,  are  there  hatched.  The  large  size 


THE  ARMADILLO  GROUP. 


of  the  animals  however  —  many  of  them  being  from  four  to  six  inches  in  breadth 
—  sufficiently  attests  their  mature  growth  in  more  favourable  circumstances.  After 
a  night  of  rain  the  streets  are  almost  covered  with  them,  and  it  is  impossible  to 
walk  without  crushing  some." 

The  armadillo  and  the  frog  by  no  means  mono- 
polized the  attention  of  the  makers  of  this  biscuit 
or  armadillo  ware.  Many  of  their  efforts  cannot  be 
referred  definitely  to  any  particular  genus.  Some  are 
droll,  some  fantastic,  all  are  interesting.  Figures  102 
to  104  give  some  indication  of  the  resourcefulness 
of  the  potter  in  posing  his  figures.  Flat-bottomed 
vessels  are.  exceedingly  rare  in  the  armadillo  group, 
there  being  but  a  single  example  in  the  Yale  collec- 
tion (fig.  105). 

The  distinctively  human  form  is  not  often  met  with 
and  is,  as  a  rule,  not  executed  so  satisfactorily  as 
are  the  forms  of  many  of  the  lower  animals.  This 
holds  true  for  the  painted  as  well  as  the  unpainted 

.    •        c.         j-rr?       ii          j-    i-  •   i     ii      i  •    A       j    j     Fig.    IOS. — Unique    flat-bottomed    vase. 

ware.     It  is  often  difficult  to  distinguish  that  intended       Armadillo  ware.    '/» 

for  man  from  that  designed  for  monkey.     The  most 

characteristic    feature    of   the    human    head   is   the  flattening   between  the  frontal 

protuberances   and  the   occiput.      This   character  is  well  illustrated  in  figure  106, 


Fig.  106.  — Vase     with     handles    represented    by       Fig.  107. — Small  vase  with   anthropomorphic    shoulder  orna- 
the  human  figure.     Armadillo  ware.     '/'  ments ;    neck   decorated    with    carapace    meander   combined 

with  foot  symbols.     Armadillo  ware.     *l* 

where  the  standing  human  form  takes  the  place  of  the  ascending  ramus  of  the 
ordinary  flattened  paired  handles.  The  human  form  as  a  shoulder  ornament  also 
appears  in  figure  107.  The  neck  of  this  small  vase  is  decorated  with  a  carapace 
meander  and  a  foot  motive  as  an  accompaniment. 

A  variety  of  plastic  shoulder  ornaments  are  grouped  together  in  Plate  XV,  which 


70 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


also  affords  an  indication  of  the  diversity  in  shape  and  dimensions  of  the  rim. 
Two  monkeys  with  hands  on  shoulders  and  with  the  long  tail  brought  forward 
and  across  the  chest  sit  on  the  shoulder  of  the  vase  in  figure  a.  The  green 
lizard  is  treated  more  or  less  realistically  in  figure  b.  Two  catlike  creatures,  each 
chasing  the  tail  of  its  mate,  are  reproduced  in  figure  c.  A  remarkable  form  of 
vase  may  be  seen  in  figure  d.  The  diameter  of  the  body  is  only  two-thirds  that 
of  the  rim.  The  latter  is  bell-shaped  and  finished  in  a  perimetric  roll.  A  similar 
rolling  of  the  rim  upon  itself  is  shown  in  figure  e.  The  plastic  figure  on  the 
shoulder  may  be  the  armadillo,  since  carapace  motives  are  placed  both  transversely 
and  longitudinally  on  its  back.  The  shoulder  ornament  in  figure  /  probably 
represents  a  bird. 

A  number  of  small  cups  with  single  handle  are  included  in  the  biscuit  or  armadillo 
group.     The  smallest  of  these  cups  has  a  capacity  of  only  six  cubic  centimeters, 


Fig.  108. 


Fig.  109. 


Fig.  no. 


Fig.  in. 


Fig.  112. 


Fig.  113. 


Fig.  108.— Cup  with  zobmorphic  handle  decoration.     Armadillo  ware.     '/« 

Fig.  109. — Cup  with  decoration  on  handle  probably  representing  a  human  head.     Armadillo  ware.     '/« 
Fig.  no. — Example  of  anthropomorphic  handle  decoration.      Armadillo  ware.     '/' 
Fig.  III.  — Cup  with  grotesque  human  figure  serving  as  handle.     Armadillo  ware.     '/< 

Pig.   112. — Another  treatment  of  the  same  motive,  the  nose  being  developed  into  a  proboscis.      Armadillo  ware.     '/» 
Fig-  113' — Cup  with  handle  decoration  suggesting  the  human  form  with   nose  developed  into  a  proboscis.      Ar- 
madillo ware.     '/« 


THE  SALMON-COLORED  SUB-GROUP. 


71 


ig.  115.  —  Cup  with  froglike 
figure  serving  as  handle. 
Armadillo  ware.  '/' 


while  the  capacity  of  the  largest  vases  in  the  armadillo  group  exceeds  6000  cubic 
centimeters.  The  largest  of  the  Chiriquian  vases,  however,  belong  to  the  so-called 
polychrome  group,  one  vase  in  the  Yale  collection  holding  twelve  liters  (see  fig.  257). 
The  single  handle  is  usually  a  vertical  loop  connecting  shoulder  with  rim  and 
so  altered  by  the  application  of  plastic  features  as  to  suggest  some  animal  form 
(figs.  108-115).  Those  in  figures  109  and  110  are  probably  human.  More  often 
a  single  effigy,  human  or  otherwise,  attached  to  the  shoulder  of  the  cup  takes 
the  place  of  a  handle  (figs.  111-115).  The  human  effigy  in  figure  111  is  a 
striking  example  of  the  ancient  potter's  sense  of  humor  and  his  skill  in  giving 
material  expression  to  the  same.  The  figure  sits  with  elbows  on  knees.  The 
right  hand,  raised  to  the  nose, 
partially  obscures  abroad  smile; 
while  the  left  rests  on  the  rim 
of  the  cup.  The  cone-shaped 
hat,  with  four  nodes  grouped 
about  the  apex  and  secured  by 
a  fillet  that  passes  beneath  the 
chin,  scarcely  hides  a  short 
"  pig-tail ''  behind.  The  conical 
head-dress  may  be  also  seen  in  . 

*  Fig.  114.  —  Cup    with    human    effigy 

figure    112      (as    well    as    in     the         for   handle.     Armadillo  ware.     '/« 

handled  ware).     In  the  former, 

both  hands  are  held  to  an  abnormally  long  nose  that  might  well  be  styled 
a  proboscis.  A  similar  feature  is  shown  in  figure  113,  but  the  cone-shaped  hat  is 
wanting.  These  are  comparable  to  the  god  with  a  long  proboscis  illustrated  in 
ancient  Mayan  codices. 

THE  SALMON-COLORED  SUB-GROUP. 

There  is  a  variety  of  armadillo  ware,  usually  highly  polished  and  with  a  salmon- 
colored  slip,  the  form  and  technique  exhibited  in  it  also  differing  somewhat  from 
the  ordinary  biscuit  pottery.  Some  characteristic  examples  of  this  variety  are 
brought  together  in  Plate  XVI.  Mention  has  already  been  made  of  the  armadillo 
represented  as  rolled  up  for  defense  or  repose.  The  head  projecting  from  the 
shoulder  of  a  salmon-colored  vase  (fig.  a)  and  encircled  by  two  incised  fillets  may 
be,  perhaps,  a  conventionalized  rendering  of  the  same  idea.  This  might  be  taken 
with  propriety  for  a  coiled  serpent,  were  it  not  for  the  fact  that  representations  of 
the  serpent  on  Chiriquian  pottery  are  almost  wholly  confined  to  one  small  group,  the 
so-called  black  incised  ware  of  Holmes,  where  the  serpent  motive  is  so  all-pervading 
as  to  justify  a  change  of  the  name  from  "  black  incised "  to  the  serpent  group. 

Two  vases  of  unusual  shape  should  be  described  in  this  connection.  The 
broken  one  is  illustrated  (fig.  b)  instead  of  the  complete  one,  because  of  its  being 
the  more  eccentric  in  form.  While  the  greatest  diameter  is  twenty-six  centimeters,  the 
height  to  the  mouth  opening  is  only  eleven  centimeters.  The  latter  is  oval  in  shape 
and  so  small  as  to  admit  only  two  fingers.  The  specimen  not  figured  is  higher 
and  has  a  somewhat  larger  mouth  opening,  but  its  greatest  diameter  is  less ;  the 
handles,  also,  are  not  so  conspicuous  as  in  the  one  figured.  Each  handle  is 


72  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

ornamented  with  a  lizard-like  form  in  relief.  The  bottom  of  each  vessel  is  flat, 
quite  thin,  and  smoked  by  use  over  the  fire.  This  type  of  vessel  may  have 
served  to  heat  water,  on  account  of  the  comparatively  great  area  of  the  surface 
exposed  to  fire,  from  which  it  could  have  been  easily  removed  by  means  of  the 
prominent  handles.  To  empty  such  a  utensil  of  its  contents,  however,  after 
its  removal  from  the  fire,  would  seem  to  have  been  an  awkward  undertaking. 
The  type  might  have  served  as  a  foot-warmer  had  it  come  from  a  colder 
climate.  The  workmanship  in  both  examples  is  crude  and  the  paste  coarse. 
Holmes  1  figures  a  specimen  similar  to  these,  except  that  he  describes  the  bottom 
as  being  concave.  He  also  states  that  the  type  is  common  in  Peru  and  occasion- 
ally met  with  in  Central  America. 

THE  BLACK  INCISED  OR  SERPENT  GROUP. 

In  point  of  numbers  this  is  a  small  group  and,  with  few  exceptions,  strikingly 
uniform  in  style  and  decoration.  The  color,  where  not  leached  out,  is  black  to 
brown.  With  the  exception  of  a  large  tripod  with  loop-shaped  supports  —  the 
largest  tripod  in  the  entire  collection,  with  a  capacity  of  5.6  liters  (5600  cc) 
—  the  series  is  remarkably  uniform  in  respect  to  size,  the  average  capacity  being 
about  125  cubic  centimeters.  The  walls  are  practically  impervious  to  water. 


Fig.  lid  a.  Fig.  n6A. 

Fig.  ll6a.  —  Vase  decorated  with  parallel  zigzag  incised  lines.     '/» ;    b.  —  Detail  of  incised  pattern  decorating    the 

bottqm  of  the  vase  shown  in  figure  a.     Serpent  ware.     V' 

Some  typical  examples  of  this  interesting  group  of  ware  are  illustrated  in 
Plate  XVII.  A  characteristic  specimen  from  Divala  is  shown  in  figure  a.  Where 
they  merge  into  the  lip,  the  vertical  handles  are  crossed  by  an  incised  fillet 
resembling  the  carapace  symbol  so  common  to  the  armadillo  ware.  Each  side 
of  the  vase  is  decorated  by  an  incised  pattern  evidently  intended  to  represent  a 
two-headed  serpent  with  forked  tongue.  The  body  of  the  serpent  is  folded  on 
itself  in  such  a  manner  as  to  produce  geometric  outlines  and  thoroughly  cover 
the  field  to  be  decorated.  The  deep  incisions  were  made  before  the  paste 
hardened  and  were  filled  with  a  white  substance,  probably  infusorial  earth,  white 
clay  or  chalk,  that  stands  out  in  bold  contrast  to  the  black  ground. 

1  Op.  cit.,  fig.  88. 


THE  HANDLED  GROUP,  UNPA1NTED.  73 

In  figure  i,  the  two-headed  serpent  is  passed  entirely  around  the  vessel  almost 
three  times.  The  serpent  symbol  also  survives  in  the  geometric  decorations  shown 
in  figure  c  (from  the  same  locality),  as  well  as  in  figures  d  and  e. 

Not  all  specimens  of  the  black  incised  group  are  incised.  One  of  these  ex- 
ceptions is  reproduced  in  figure  /.  It  is  a  vase  with  large  plain  handles,  which 
appears  to  have  been  used  as  a  receptacle  for  the  white  substance  that  fills  the  in- 
cisions on  vessels  of  this  group.  The  interior  of  a  vase  of  about  the  same  capacity, 
belonging  to  the  lost  color  group,  is  also  smeared  with  the  same  white  paste. 

A  vase  recalling  a  Costa  Rican  (Tres  Rios)  variety  of  ware  is  reproduced  in 
figure  116  a.  Two  parallel  incised  lines,  forming  a  band,  describe  the  circumference 
in  a  zigzag  course,  crossing  what  might  be  called  the  equator  at  twelve  points, 
and  where  they  meet  the  lines  are  sometimes  broken.  This  band  is  perfectly 
plain,  the  punctate  areas  being  the  triangular  fields  each  bounded  by  the  band 
and  the  equator,  six  of  them  above  the  latter  and  six  below.  The  two  elements 
in  the  realistic  serpent  are  here  beginning  to  separate.  The  same  thing  is 
taking  place  about  the  neck  of  the  vessel,  where  there  are  two  plain  horizontal 
bands  and  a  dotted  zone  above  them.  Contrary  to  the  general  rule,  an  inter- 
esting incised  pattern  adorns  the  bottom  of  this  vase  (fig.  1166).  Two  plain 
bands  bound  a  rectangular  field.  On  each  of  the  long  sides  of  the  rectangle  are 
three  triangles,  each  bounded  on  two  sides  by  a  plain  zigzag  band.  Only  the 
enclosures,  rectangular  and  triangular,  are  dotted  with  incisions.  The  breaking  up  of 
the  elements  that  went  to  make  up  a  realistic  serpent  (or  serpents)  results  not  only 
in  economy  of  labor  but  also  in  more  thoroughly  covering  the  area  to  be  decorated  I 
hence  conventionalism  has  ever  been  as  much  the  child  of  economy  as  of  ritual. 

The  breaking  up  of  the  elements  that  enter  into  the  realistic  representation  of  the 
serpent  is  seen  also  in  figure  117,  where  the  shoulder  of  a  small  vase  is  ornamented 


Fig.  117. — Small   vase  with  shoulder 

decoration    consisting    of  a   trian-  p;g.  ng.—Tripod    bowl     with    supports    re- 

gular treatment  of  the  serpent  mo-  presenting  a  fish.     Serpent  ware.      '/» 

tive.     Serpent  ware.     */• 

with  a  series  of  triangles  formed  by  the  body  motive  with  the  body-markings  appear- 
ing only  in  the  enclosed  spaces.  This  series  of  illustrations  ends  with  a  tripod  vase 
(fig.  118),  the  body  of  which  is  plain.  The  supports  are  representations  of  the  fish. 

THE  HANDLED  GROUP,  UNPAINTED. 

There  is  a  comparatively  large  group  of  unpainted  ware  that  is  related  on  the 
one  hand   to   the  salmon-colored  variety  of  armadillo  ware,  and  on  the  other,  to 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  10 


74  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

the  handled  group  that  is  painted.  The  paste  used  in  its  manufacture  may  be 
either  coarse  grained  or  fine  grained,  but  is  always  tenacious.  The  exterior  of 
nearly  every  piece  is  blackened  by  smoke  and  soot.  The  vessels  were  not  sus- 
pended over  the  fire,  the  convex  bottom  over  a  considerable  area  being  generally 
not  discolored,  as  if  it  had  rested  on  ashes  or  sand  while  the  fire  burned  on  all  sides. 

The  vessel  illustrated  in  figure  119  is  coated  with  smoke,  soot  and  grease,  in- 
side and  out,  which  may  account  for  its  remaining  absolutely  impervious  to  water 
after  a  test  of  twenty  hours'  duration.  Life  symbols  adorn  the  otherwise  plain 
vertical  handles,  and  the  shoulder  is  ornamented  with  four  neatly  incised,  X-shaped 
patterns,  two  on  either  side.  This  vessel  has  a  capacity  of  575  cubic  centimeters. 
Another  type  of  handle,  one  characteristic  of  the  painted  handled  ware,  is  shown 
in  figure  120.  It  consists  of  a  loop  horizontally  applied  to  the  shoulder.  Two 
plain  nodes  for  eyes  or  ears  indicate  a  life  form. 

A  series  typical  of  those  that  are  related  to  the  armadillo  ware  may  be  seen 
in  Plate  XVIII,  and  appropriately  enough  each  example  is  ornamented  with  arma- 
dillo motives.  The  paired  handles  in  figure  a  form  raised  horizontal  loops,  fitting 
close  against  the  neck  of  the  vase.  By  the  application  of  nodes  and  fillets  the 


Fig.  119. —  Vase    bearing    life     symbols 

on  handles  and  incised  X-shaped  or-  Fig.  120. — Vase    with    horizontally     placed 

namentations  on  shoulder.     Unpainted  handles  representing  animal   forms.     Un- 

handled  ware.     '/'  painted  handled  ware.      '/• 

handle  is  transformed  into  the  head,  shoulders  and  forelegs  of  the  armadillo.  To 
make  sure  of  its  identity,  the  carapace  symbol  is  freely  used. 

Figure  b  shows  a  similar  arrangement,  except  that  the  nose  is  wanting.  The 
handle  is  reduced  to  a  mere  knob  in  figure  c,  but  the  eyes  above  and  the  carapace 
symbol  at  the  base  suffice  to  convey  the  idea  intended.  In  other  words,  it  shows 
a  ventrally  placed  carapace  symbol  resembling  those  in  figures  82  and  83.  In 
figure  d  the  horizontal  loop  handle  is  reduced  in  size  and  somewhat  removed 
from  the  neck  of  the  vessel.  Carapace  symbols  ornament  its  summit  and  bases. 
The  same  is  true  of  figure  e,  except  that  three  single  fillets  are  used  instead  of 
three  pairs,  the  handles  being  also  reduced  in  size  and  changed  so  as  to  occupy 
a  vertical  position.  In  figure  /  the  vertical  handles  unite  shoulder  and  rim.  They 
are  simply  plastered  over  with  carapace  symbols.  Two  perforated  nodes  near 
the  top  represent  the  eyes.  On  the  opposite  handle,  a  median  hole  just  below 
the  eyes  may  be  intended  for  a  mouth  or  nose. 

The  remaining  vessels  of  the  unpainted  handled  group  are  related  rather  to  the 


PAINTED   WARE.  75 

painted  handled  group  than  to  the  armadillo  ware.  Examples  are  given  in  Plate  XIX. 
Figure  a  represents  one  type.  The  looped  handles  placed  horizontally  are  so  treated 
as  to  indicate  life  forms.  Three  incised  nodes  represent  the  mouth  and  eyes,  the 
latter  being  quite  far  apart,  and  incisions  at  the  bases  suggest  either  feet  or  the 
carapace.  The  same  style  of  handle  with  slight  variations  is  repeated  in  figure  b. 

What  appears  to  be  two  pairs  of  handles  in  figure  c  is  in  reality  but  a  variation 
of  the  type  of  handle  shown  in  two  preceding  figures  (see  PI.  XVIII,  figs,  a  and 
i).  The  head  is  an  incised  node  on  the  rim.  The  forelegs  are  set  rather  far 
apart,  so  as  to  look  like  a  pair  of  handles.  The  eyes  are  placed  on  the  shoulders 
and  the  knees  are  marked  by  carapace  symbols.  The  same  form  of  handle  is 
repeated  in  other  specimens,  with  gradual  elimination  of  life  symbols. 

The  decorative  element  on  the  handles  shown  in  figures  d  and  e  may  represent 
either  man  or  monkey.  The  body,  also,  of  the  vessel  in  figure  d  is  ornamented 
by  a  row  of  flattened  pellets,  forming  an  irregular  circle  at  the  level  of  the  bases 
of  the  handles.  This  circle  is  interrupted  at  one  handle  but  drops  suddenly  and 
passes  beneath  the  handle  on  the  opposite  side.  These  flattened  pellets  probably 
represent  the  body-markings  of  the  alligator.  A  similar  motive  is  found  on 
potter}'  from  the  highlands  of  Costa  Rica,  ancient  pueblo  of  Curridabat,  where 
representations  of  the  alligator  or  parts  thereof  predominate.  The  bottom  of  the 
vessel  is  flattened  over  a  limited  area. 

The  vase  reproduced  in  figure  /  has  a  similar  flattening  of  the  bottom.  The 
base  of  each  vertical  handle  is  bifurcated,  making  a  combination  handle,  conform- 
ing to  both  the  horizontal  and  vertical  patterns.  One  of  the  manlike  or  apelike 
figures  holds  his  hands  at  the  top  of  his  head,  while  the  hands  of  the  other  are 
held  to  his  chin. 

PAINTED  WARE. 

The  painted  pottery  found  in  Chiriqui  is  divisible  into  about  ten  more  or  less 
distinct  groups  (see  p.  66).  While  some  of  these  classes  are  large,  examples  of 
others  are  so  rarely  met  with  as  to  suggest  the  possibility  of  their  being  im- 
portations. While  the  basis  of  classification  generally  rests  on  an  ensemble  of 
characters  rather  than  on  some  one  distinctive  feature,  the  lines  of  demarcation 
are  easily  traceable  by  any  one  at  all  familiar  with  Chiriquian  ceramic  art. 

As  might  be  anticipated,  the  introduction  of  color  as  an  ornamental  factor  often 
tended  to  minimize  the  importance  of  incised  and  plastic  features  as  well  as  of 
form  and  finish  in  general. 

As  a  result,  decorative  motives  derived  from  the  armadillo  and  the  serpent, 
which  have  given  their  names  to  two  important  groups  of  unpainted  ware,  are 
practically  never  executed  in  paint;  while  incised  or  plastic  motives  derived  from 
the  alligator,  whose  name  is  applied  to  a  characteristic  group  of  painted  ware, 
are  equally  rare.  It  is  likewise  true  that  no  class  of  ware  surpasses  the  armadillo 
group  in  general  excellence  of  modeling,  while  the  poorest  examples  in  this 
respect  are  to  be  found  among  the  lost  color  vases,  which  are  particularly  lacking 
as  regards  interior  finish. 

A  comparison  of  the  various  classes  of  painted  ware  among  themselves  brings 
out  some  striking  differences  that  apply  even  to  the  manner  in  which  a  given 


76  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

decorative  motive  is  to  be  expressed.  The  motive  derived  from  the  dorsal  view 
of  the  alligator,  for  example,  is  employed  extensively  in  both  the  alligator  and 
the  lost  color  groups  and  likewise  occurs  in  the  white  line  group;  but  the  artist's 
expression  of  it  is  always  consistent  with  the  class  in  which  he  is  working,  and 
it  thus  becomes  not  only  a  distinguishing  badge  but  also  one  of  kinship.  The 
same  thing  may  be  said  for  the  motive  derived  from  the  profile  view  of  the  alli- 
gator, its  particular  guise  depending  on  whether  it  is  intended  for  the  polychrome 
or  the  alligator  ware. 

The  various  groups  of  painted  ware  differ  among  themselves,  also,  in  respect 
to  the  quality  of  the  paste,  the  prevailing  vase  forms,  the  nature  of  the  slip  or 
the  ground  color,  the  method  of  producing  the  designs  and  the  number  and  kind 
of  colors  thus  employed.  In  groups  with  but  a  single  ground  color  and  no  delineating 
color,  there  is  usually  a  supplementary  incised  or  plastic  ornamentation.  The  handled 
ware  owes  its  identity  to  the  absence  of  legs  and  the  form  of  lip  and  handles  rather 
than  to  the  presence  of  a  paint  that  is  also  employed  on  tripods  of  the  fish  group. 

Various  shades  of  pale  yellow  and  of  red  were  the  prevailing  ground  tints. 
While  the  ground  is  generally  uniform  for  a  given  vessel,  in  the  lost  color  group 
it  often  consists  of  two  colors,  the  neck  and  bottom  being  red  and  the  shoulder 
a  pale  orange.  The  delineating  colors  include  various  shades  of  red,  two  kinds 
of  black,  a  white  and  a  dull  purple,  the  last  two  being  particularly  rare  colors. 
Red  occurs  in  at  least  three  hues  and  is  always  a  permanent  color,  serving  as  a 
ground  and  also  as  a  delineating  color.  Black  of  two  kinds  was  freely  employed 
both  as  a  ground  and  as  a  delineating  color,  the  latter  permanent,  the  former 
thin  and  fugitive.  The  rare  and  permanent  purple  probably  comes  from  a  non- 
ferruginous  metallic  oxide.  The  ancient  potters  of  Chiriqui  were  masters  of  the 
brush  in  three  distinct  methods  of  painting:  (1)  The  usual  method  of  producing 
a  figure  or  pattern  was  by  the  direct  application  of  one  or  more  delineating 
colors  —  red,  black,  white,  and  in  one  variety  of  ware,  an  additional  color,  purple. 
The  red  and  purple  were  frequently  employed  as  mass  colors  outlined  in  black ; 
(2)  The  lost  color  process  was  confined  to  a  single  large  group.  It  consisted  of 
tracing  the  design  in  wax  over  the  ground  color,  the  application  of  a  solid  coat 
of  black  over  the  area  to  be  ornamented,  and  immersing  the  vessel  in  hot  water 
which  melted  the  wax,  removing  with  it  the  black  from  the  design  and  thus 
leaving  the  latter  in  the  color  of  the  original  ground ;  (3)  Sparing  the  figure  out 
of  the  ground  was  seldom  employed,  occurring  only  in  the  alligator  and  the 
kindred  polychrome  ware.  The  few  examples  of  this  technique  evince  much  skill 
and  ingenuity. 

THE  HANDLED  GROUP  OF  PAINTED  WARE. 

This  is  called  the  handled  group  by  Holmes,  and  yet  in  the  Yale  collection 
thirty  out  of  the  three  hundred  and  ninety  vessels  belonging  to  it  have  no  handles. 
While  all  bear  paint  marks,  the  surface  is  never  completely  covered  with  paint. 
With  an  ample  brush,  red  paint  is  applied,  usually  in  horizontal  encircling  bands, 
from  which  two  or  three  loops  or  triangles  rise  to  the  neck  on  each  side  of  the 
paired  handles ;  or  the  paint  may  be  put  on  in  a  series  of  daubs  or  short  streaks. 
In  rare  instances  it  completely  covers  the  exterior  up  to  the  level  of  the  collar 


THE   HANDLED  GROUP  OF  PAINTED  WARE.  77 

or  neck.  Seldom  is  the  outer  surface  of  the  flange  or  lip  painted,  but  its  inner  surface 
is  always  painted  either  wholly  or  in  part.  The  handles  are  entirely  free  from  paint. 

The  character  of  the  unpainted  areas  would  seem  to  indicate  that  a  slip  was 
rarely  and  sparingly  used.  The  finish  of  the  interior  is  even  more  neglected  than 
that  of  the  exterior.  The  walls  of  the  vessels  are  generally  much  thicker  at  the 
bottom  than  elsewhere,  a  character  serving  at  least  one  useful  purpose,  since  it 
affords  a  certain  degree  of  stable  equilibrium  to  a  form  that  would  otherwise  be 
unstable.  The  bases  are  more  or  less  rounded  and  never  supplied  with  annular 
supports.  It  is  true  that  many  vessels  of  similar  material,  form  and  finish  are 
mounted  as  tripods ;  but  these  are  placed  for  convenience  with  the  tripod  or  fish 
group.  It  will  be  seen  later  that  those  mounted  as  tripods  are  much  smaller  than 
their  counterparts  in  the  handled  group,  and  the  type  of  handle  is  also  different. 

The  handled  ware  proper  may  be  divided  into  sub-groups  depending  on  the 
style  of  handle.  In  one  of  these  the  paired  handles  are  placed  vertically,  uniting 


Kig.    121. — Vase    with    carapace    symbol  Fig.  122. — Vase    whose  handle  decorations   re- 

ornamenting  base  of  handles.     Painted  present     either     fin     or     carapace     motives, 

handled  ware.     '/•  Painted  handled  ware.     */• 

lip  with  shoulder,  a  form  that  is  common  also  to  the  armadillo  ware.  In  another 
the  handles  are  attached  to  the  shoulder  of  the  vessel  alone  and  in  a  horizontal 
position,  a  type  that  is  common  to  the  unpainted  handled  ware.  Single  handles, 
either  of  the  vertical  type  or  that  spanning  the  orifice  from  lip  to  lip,  are  extremely 
rare.  Animal  forms  attached  to  the  shoulder  of  the  vessel  sometimes  take  the 
place  of  handles  and,  as  has  already  been  said,  handles  may  be  entirely  wanting. 

The  orifice  of  the  vessel  is  always  round,  but  the  character  of  the  lip  or  flange 
surrounding  it  depends  upon  the  type  of  handle.  Where  the  handle  is  attached 
to  the  shoulder  alone,  or  where  there  are  no  handles,  the  lip  is  circular  also, 
and  every  point  on  its  margin  is  in  one  and  the  same  horizontal  plane.  On  the 
other  hand,  an  oval  lip  carried  upward  at  both  ends  goes  with  the  vertical  handle. 

Hitherto  the  ornamentation  has  been  the  work  of  the  sculptor  or  engraver. 
We  now  have  to  reckon  with  a  new  force  in  the  domain  of  decoration,  viz., 
color  or,  rather,  paint.  Whether  or  not  the  summary  fashion  in  which  the  paint 
is  here  applied,  represents  the  beginning  of  a  new  art  era  or  a  decadent  phase 
of  the  same,  it  is  not  within  the  province  of  the  present  study  to  determine.  It 
is,  however,  worth  while  to  note  the  effect  of  the  painter's  work  on  that  of  the 
sculptor  and  engraver,  where  all  three  are  combined  in  one  whole.  In  the  first 


78  A  STUDY  OF  CHIRIQUIAN   ANTIQUITIES. 

place  they  do  not  overlap.  The  work  of  the  sculptor  is  confined  to  handles. 
These  are  never  painted.  The  engraver  has  chosen  the  shoulder  and  neck  or 
collar  for  his  field  of  operations.  The  incised  areas  are  never  painted. 

A  study  of  the  handle  ornaments  of  this  group  reveals  the  fact  that  the  arma- 
dillo   motive    is    one   of  the   principal   threads   that  bind   together  practically   all 


Fig.  123.— Vase    with    same    life    form    on    handles    as    in  Fig.  124.— Vase  with  carapace  symbol  decorating 

preceding  example.     Painted  handled  ware.      '/«  the  handles.     Painted  handled   ware.      '/» 

classes  of  Chiriquian  pottery,  serving  an  important  ornamental  role  full  of  symbolic 
and  mythologic  meaning.  It  demonstrates,  also,  that  many  purely  decorative 
motives  had  their  origin  in  some  life  form  or  in  elements  thereof.  In  Egypt  this 


Fig.  125.  Fig.  126.  Fig.  127. 

Fig    125.  —  Vase  with  twisted  handles  composed  of  two  strands.     Painted  handled  ware.     ''» 

Fig.  126. — Detail  of  shoulder  ornamentation  on  vase  shown  in   Plate  XXI,   figure  h.     Painted  handled   ware.    'I* 

Fig.  127. — Vase  with  life  forms,   probably  human,  serving  as  handles.     Painted  handled  ware.     '/> 

form  seems  to  have  been  the  lotus  ;  in  Chiriqui  it  was  the"  armadillo  and,  as  we 
shall  see  later,  the  alligator. 

The  familiar  carapace  symbol  appears  in  figure  121.  The  life  forms  in  figures  122 
and  123  are  probably  identical,  although  the  nodes  may  be  fin  motives  instead 
of  carapace  motives.  The  vase  reproduced  in  the  latter  figure  is  one  of  the 
largest  vessels  of  the  handled  group,  having  a  capacity  of  three  liters.  An  un- 


THE  HANDLED  GROUP  OF   PAINTED   WARE. 


79 


mistakable  carapace  symbol  appears  in  figure  124,  which  represents  a  large  vase 
having  a  uniform  coat  of  red  paint  covering  the  entire  exterior  with  the  exception 
of  the  handles  and  lip.  The  inner  surface  of  the  latter  leading  down  to  the 
orifice,  however,  is  painted. 

The  two  prevailing  types  of  handle  are  shown  in  Plate  XX.  In  one  case,  the 
handle  is  vertical,  connecting  shoulder  and  lip  (figs,  a-d) ;  in  the  other  it  is  placed 
horizontally,  both  ends  being  attached  to  the 
shoulder  (figs.  e-h\  In  both  types,  it  is  almost 
always  ornamented  with  nodes  and  fillets  —  life 
forms  or  elements  of  the  same.  The  character- 
istic method  of  applying  the  red  paint  in  bands, 
loops  and  arches  is  also  well  illustrated  in  this 
plate.  The  horizontal  type  of  handle  ac- 
companies a  circular  lip.  Where  the  neck  is 
of  sufficient  length  it  is  generally  adorned  with 
incised  patterns,  as  seen  in  figures  f  and  h. 
When  the  neck  is  short  the  shoulder  may  be 
incised  instead  (fig.  </). 

Two  strips  of  clay  are  twisted  on  each  other 
to  form  the  handles  in  figure  125.  This  type 
of  handle  is  common  to  the  tripod  group  (see 
Pis.  XXII-XXIV).  It  was  evidently  derived 
from  a  life  form,  probably  the  armadillo,  as 
pointed  out  on  page  64. 

The  vertical  handles  in  Plate  XXI  are  converted  into  human  or  apelike  forms 
by  the  addition  of  plastic  features.  The  proboscis  noted  in  certain  examples  of 
the  armadillo  ware  (see  figs.  112  and  113)  reappears  in  figure  a.  Each  handle  in 


Fig.  128. — Vase  with  single  handle  spanning 
the    aperture.     Painted    handled    ware.  '  '/' 


Fig.  129. — Vase    with    grotesque     forms    serving 
as  handles.     Painted  handled  ware.     '/' 


Fig.  130. — Vase  with  plastic  decoration  suggesting  the 
carapace  motive.     Painted  handled  ware.     '/• 


figure  b  represents  twins.  Two  grotesque  forms  attached  to  the  shoulder  take 
the  place  of  handles  in  figure  g.  Here  again  the  shape  of  the  lip,  not  being 
affected  by  connection  with  a  handle,  is  circular  and  the  shoulder  is  ornamented 
with  an  incised  pattern  (see  PI.  XX,  fig.  g).  In  figure  h,  both  hands  cover  the 


80  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

mouth.  The  figure  on  the  opposite  side  (fig.  126)  holds  the  right  hand  to  the 
chin  and  supports  it  there  by  grasping  the  wrist  with  the  left  hand. 

The  life  forms  in  figures  127  and  128  are  probably  human  also.  The  handle 
in  the  latter  vase  is  a  single  loop  spanning  the  orifice.  In  figure  129,  the  two 
grotesque  forms  attached  to  the  shoulder  take  the  place  of  handles.  They  are 
unlike.  One  is  the  armadillo  with  tip  of  nose  hidden  behind  the  forefeet,  and 
with  two  incised  fillets  representing  the  carapace,  one  applied  longitudinally  be- 
ginning at  the  top  of  the  head,  and  the  other,  horizontally  about  the  back  of  the 
neck.  The  other  figure  is  a  cross  between  the  human  and  the  ape.  The  plastic 
decorative  motive  in  figure  130  is  similar  to  one  already  noted  in  the  armadillo 
group  of  ware  (see  fig.  97  and  PI.  XVI,  fig.  a)  —  a  somewhat  reduced  and  simpli- 
fied head  surrounded  by  an  incised  fillet,  suggesting  the  carapace  motive.  The 
surface  below  the  collar  of  this  vase  is  smoked  and  sooty,  a  condition  common 
to  this  group,  at  least  seventy-five  per  cent  of  which  have  been  used  over  the  fire. 

As  has  been  already  stated,  not  all  vases  of  the  handled  ware  have  handles, 
figure  131  being  an  example.  It  has  a  well-developed  collar.  The  body  is  given 


Fig.  131.— Vase    with    well-developed     collar    but  Fig.  132.— Vase  without    handles.     Painted 

without  handles.     Painted  handled  ware.     '/•  handled  ware.     '/' 

a  solid  coat  of  red  paint,  while  neck  and  collar  were  left  untouched.  Another 
vase  without  handles  is  reproduced  in  figure  132.  The  arched  panels  on  the 
sides  are  not  unlike  those  seen  in  the  lost  color  ware. 


THE  TRIPOD  OR  FISH  GROUP. 

Mention  has  already  been  made  of  the  affinity  between  this  group  and  the  handled 
ware,  which  consists  chiefly  in  a  similarity  of  paste,  scant  use  of  slip,  the 
kind  of  paint  used  and  the  method  of  applying  it.  and  the  fact  that  a  large 
majority  of  vessels  in  both  groups  bear  sooty  incrustations. 

There  are  also  some  fairly  well-marked  differences  to  be  noted.  The  bowls  of 
the  tripods  average  smaller  than  those  of  the  handled  group.  With  few  excep- 
tions, the  type  of  rim  or  lip  is  quite  different,  the  typical  tripod  rim  being  at  all 
points  in  the  same  horizontal  plane  and  recurved  outward  upon  itself.  The  descent 
from  the  outer  edge  of  the  rim  to  the  orifice  is  a  gentle  convex  curve.  The 


THE  TRIPOD  OR  FISH  GROUP. 


81 


Fig.  «33- 


orifice  is  proportionately  greater  than  in  the  handled  ware,  with  a  diameter  but 
slightly  smaller  than  the  greatest  inside  diameter  of  the  bowl,  the  latter  usually 
being  quite  shallow. 

While  in  the  handled  group  the  in- 
terior of  the  bowl  is  never  painted,  in 
the  tripod  ware  this  portion  is  more  often 
painted  than  any  other  part,  which  is 
explained  by  the  fact  that  the  relatively 
large  mouth  opening  and  shallow  bowl 
render  the  interior  visible  at  all  points. 
Many  of  the  tripods  are  not  painted  at 
all.  These  may  be  said  to  have  their 
counterpart  in  the  unpainted  variety  of 
the  handled  group.  On  consulting  the 
illustrations,  it  will  be  seen  that  the  most 
satisfactory  and  elaborately  wrought  tri- 
pods are  among  those  that  are  not  painted. 

Twisted  vertically-placed  handles  are 
the  rule  among  the  tripods.  Only  two 
examples  of  the  twisted  handle  were  to 
be  found  in  the  handled  group.  On  the 
contrary,  there  are  very  few  tripod  handles 
wrought  into  realistic  animal  forms,  a 
style  of  handle  very  common  indeed  in 
the  handled  group.  In  the  latter  ware, 
neck  ornaments  are  rare.  Among  the 
tripods,  especially  those  unpainted,  the 
neck  is  almost  always  decorated  with 
fillets  or  incised  patterns,  the  usual  orna- 
mentation being  two  long  incised  fillets, 
each  reaching  half-way  around  the  neck. 
The  ends  of  these  fillets  do  not  touch, 
leaving  a  blank  space  underneath  each 
handle.  The  handles  were  put  on  first, 
then  the  fillets,  and  lastly  the  feet. 

The  tripod  supports  are  very  different 
from  those  of  the  armadillo  ware.  They 
are  much  longer  and,  on  account  of  their 
length,  are  spreading,  so  as  to  prevent 
the  vessel  from  being  easily  overturned.  Fig.  133.— Tripod  with  long  solid  supports  and  with 

The  sunnorts  are  rarelv  solid      Ficrnrp  133         fi"ets  applied  obliquely  to  the  handles.    Fi.sh  ware.  '/« 

Id.     IMgUI        id,    Fig    ,34._Tripod  with  twisted  handles  and  with    sup. 

therefore,  represents  an  exception    tO    the        Ports  resembling  the  body  of  a  fish.     Fish  ware.     '/» 

rule,  not  only  in  regard  to  the  supports, 

but    also    in    the    shape   of  the  rim.     The  fillets  applied  obliquely  to  the  handles 
are  life  motives,  and  form  a  link  in  the  series  that  includes  handles  with  horizon- 
tally   applied    fillets    on    the    one   hand,    and    those   that  are   obliquely  incised  or 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  11 


Fig.  134- 


82 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


twisted  on  the  other  (see  PL  XIII,  figs,  a,  b  and  e;  PI.  XXII,  figs,  e  and  /).  As 
far  as  Chiriquian  art  is  concerned,  all  may  have  been  derived  from  the  armadillo 
carapace. 

The  hollow  tripod  supports  are  generally  provided  with  long  median  slits, 
through  which  may  be  seen  the  movable  pellets  serving  as  rattles,  one  to  each 

support  being  the  rule.     The 
shape  of  the  plain  leg  is  often 
such  as  to  resemble  the  body 
of    a    fish.      A    pointed    hip 
(PI.  XXII,  fig.  d)  or  a  lateral 
flattening    at    the    free    end 
(PI.  XXII,  fig.  e)   makes   the 
resemblance  even  more  strik- 
ing.    To  aid  the  imagination 
further,  incisions  are  made  on 
the  pointed  hip  to  represent 
the  mouth  of  the  fish  (fig.  134). 
Two  twisted  strands  form  each 
handle.     A  fillet  incised  hori- 
zontally  and   broken    at   the 
handles  ornaments  the  neck. 
With  the  addition  of  eyes 
and  fins,  the  image  is  complete, 
as  is  the  case  in  figure   135, 
where  pectoral,  ventral,  cau- 
dal   and    dorsal    fins   are   all 
present.    To  save  one  dorsal  fin,  the  median 
slit  is  bridged,  while  the  other  dorsal  fin  is 
pushed  forward  to  a  point  almost  between 
the  eyes.    The  mouth  is  slightly  open,  show- 
ing teeth.    Each  handle  is  skilfully  fashioned 
into  a  monster  with  human  body  and  head 
of  a  bear  or  jaguar.    This  may  be  the  jaguar- 
god,  which  is  described  in  the  chapter  deal- 
ing  with  the   alligator  ware   and  of  which 
there   are  fine    examples   among   the   gold 
ornaments.     The   hands  support  the  lower 
jaw.     The  bowl   of  this   tripod    is    typical 
for  the  group,  with  its  shallow  bottom,  large 
orifice,  and  recurved  rim,   every  portion  of 
which  is  in  the  same  horizontal   plane  - 
the  urn-shaped  bowl  par  excellence. 

The  urn-shaped  bowl  is  repeated  in  figure  136.  The  handles,  however,  are 
plain.  The  long  median  slit  leaves  room  for  but  a  single  dorsal  fin,  which  is 
placed  forward  between  the  eyes.  Teeth  are  represented  by  short  incisions  at 
right  angles  to  the  slightly  open  mouth.  This  vessel  is  not  painted,  neither  are 


Fig.  135. — Tripod,  the  legs  of  which  are  realistic  representations  of 
the  fish.  The  half-human  monsters  serving  as  handles  may  re- 
present the  jaguar-god.  Fish  ware  '/J 


Fig.  136. —Tripod   with  plain  handles  and  fishlike 
supports.     Fish  ware.     '/> 


THE  TRII'OD  OR  FISH  GROUP. 


83 


the   two   preceding  it,   but  all  three  are  highly  polished,    particularly  within,    and 
are  more  or  less  smoke-blackened  on  the  outside. 

By  comparing  the  last 
three  illustrations  with  the 
two  that  follow,  one  sees  at 
a  glance  the  superior  form 
and  finish  of  the  unpainted 
ware.  The  tripod  shown  in 
figure  137  is  painted  red, 
both  inside  and  outside,  with 
the  exception  of  the  neck 
and  twisted  handles.  The 
single  median  slit  is  extend- 
ed to  the  tip  of  the  nose, 
leaving  no  room  for  even 
a  single  dorsal  fin.  The 
rather  prominent  cat-fish 
mouth  is  crossed  from  lip 
to  lip  by  a  number  of  fillets. 
The  pectoral  and  ventral 
fins  are  present,  as  is  the 
unpaired  anal  fin,  which  is 
placed  exactly  opposite  the 
median  dorsal  slit  on  each 
leg,  and  almost  as  far  re- 
moved from  the  tail  as  are 
the  ventral  lateral  fins.  This 
is  the  only  occurrence  of 

the  anal  fin  in  the  entire  collection.  Professor 
F.  W.  Putnam  1  did  not  find  it  in  the  series  he 
studied,  and  it  is  not  mentioned  by  Holmes. 

The  dorsal  fin  reappears  in  figure  138  simply 
as  an  incised  lump  on  the  nose  of  the  fish.  The 
pectoral  and  caudal  fins  are  represented,  but  the 
mouth  is  wanting.  An  incised  band  surrounds 
the  neck,  being  carried  under  the  handles  with- 
out a  break — an  exception  to  the  rule.  The 
handles  are  incised  diagonally,  giving  them  the 
appearance  of  being  twisted  (see  fig.  133).  The 
interior  and  exterior  are  both  smeared  with  red 
paint,  which,  however,  does  not  completely  hide 
the  slip  at  all  points. 

The    fish's    mouth   in   figure  139   is   elaborately    finished.      In  the   muzzle,    on 
either  side  of  a  median  plane,  there  is  a  pair  of  openings  that  widen  toward  the 


Fig.  137. — Tripod  with  twisted  handles,  and  supports  in   which  the  anal 
fins  are  present.     Fish  ware.     V» 


Fig.  138. — Tripod  in  which  the  dorsal  fin 
appears  as  a  lump  on  the  nose  of  the 
fish.  Fish  ware.  '/» 


1  Conventionalism  in  ancient  American  art.     Bull.  Essex  inst.,  XVIII,  162,  1886. 


84 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


corners  of  the  mouth.  Zigzag  fillets  span  these  openings  and  a  pair  of  fillets 
surrounds  the  mouth,  the  whole  of  which  is  easily  visible  because  of  the  pro- 
truding lower  jaw.  The  pectorals  and  one  dorsal  fin  are  represented.  The  eyes 
are  left  out.  The  neck  and  handles  are  plain,  but  there  are  traces  of  paint 
splotches  within  and  without  that  were  spread  over  the  slip  in  streaks  by  rubbing. 

The  characteristic  tripod  rim  has  completely  disappeared  in  figure  140,  which 
is  a  typical  example  of  the  handled  ware  plus  the  legs.  The  paint  is  also 
applied  exactly  as  in  that  group.  The  inner  surface  of  the  rim  leading  to  the 
orifice  is  painted,  but  the  interior  of  the  bowl  is  not,  neither  are  the  handles. 
A  pair  of  pectoral  fins  remain  to  give  a  fishlike  aspect  to  the  legs.  The  tail  is 
slightly  flattened  laterally,  but  not  incised. 

The  vase  of  which  one  foot  is  shown  in  figure  141  is  also  of  the  handled  type, 
differing  only  from  the  latter  in  its  comparatively  large  mouth  opening  and 


Fig.  139. — Tripod    with    gracefully   modeled    supports 
representing  the  fish.     Fish  ware.     '/> 


Fig.  140. — Typical  example  of  handled  ware  with 
legs,  the  latter  exhibiting  pectoral  fins  only. 
Fish  ware.  V" 


painted  interior.  The  wide-spreading  legs  are  clumsy  and  ponderous.  Nothing 
of  the  fish  remains  except  a  single  dorsal  fin  at  the  upper  end  of  the  long 
median  slit. 

The  painters  of  the  tripod  group  possessed  an  interesting  technique.  The  red 
paint  was  applied  to  the  slip  in  spots  or  bands  and  rubbed  down  while  in  the 
process  of  drying,  thus  producing  the  effect  of  floating  clouds  or  the  flecked 
surface  of  the  eggs  of  certain  birds.  This  is  seen  to  best  advantage  over  the 
surface  of  the  interior,  where  the  red  was  sometimes  simply  spattered  on  and 
then  rubbed  in.  This  spattering  treatment  minus  the  rubbing  in  was  practised 
by  the  ancient  Tusayan  potters,  fine  examples  of  it  being  found  by  Fewkes 1  at 
the  ruined  pueblo  of  Sikyatki. 


1  Seventeenth  Ann.  rept,  Bur.  Amer.  ethnol,,  Pt.  2,  650,  1895—1896. 


THE  TRIPOD  OR  FISH  GROUP. 


85 


Specimens  of  this  technique  are  reproduced  in  Plate  XXII.  A  characteristic 
interior  for  the  tripod  group  in  shape  and  painting  is  shown  in  figure  a.  The 
feet  are  ornamented  with  the  eyes,  mouth  and  tail  fin  of  the  fish.  The  same 
technique  is  seen  in  figure  b,  the  best  effects  being  at  the  bottom  of  the  interior. 
The  supports  are  relatively  long  and  spreading,  with  only  pectoral  fins  represented. 
In  figure  c,  the  effect  of  cross-rubbing  the  red  bands  on  the  legs  is  visible.  At 
the  hip  are  the  head,  beak  and  eyes  of  a  bird,  probably  the  hawk.  Just  beneath 
the  head  are  two  incised  nodes  representing  the  feet.  A  good  specimen  of  the 
flecked  exterior  is  seen  in  figure  d.  Here  the  fish  form  of  the  foot  is  faithfully 
reproduced  without  the  help  of  incised  lines  or  relief  ornament.  The  red  bands 
in  figure  e  were  not  rubbed  while  in  process  of  drying,  and  the  vessel  is  figured 
here  by  way  of  contrast;  the  interior,  however,  is  characteristically  flecked.  The 
unpainted  feet  represent  the  fish  again,  the  only  feature  emphasized  being  the 
tail  fin.  A  good  example  of  the  diagonally  incised  handle  that  may  be  looked 
upon  as  a  connecting  link  between  the  horizontally 
incised  and  the  twisted  handle  is  reproduced  in  fig- 
ure /. 

A  series  of  tripods  with  fish  supports  is  given  in 
Plate  XXIII.  All  are  blackened  by  soot  and  smoke, 
and  only  one  (fig.  /)  bears  any  trace  of  ever  having 
been  painted.  Mouth  and  fins  are  indicated  in  all. 
Each  fish  in  figure  a  has  both  a  dorsal  and  a  ventral 
median  slit.  By  this  means,  light  is  let  in,  making  the 
movable  pellet  more  conspicuous.  The  weight  is  also 
reduced.  Although  large,  they  are  of  graceful  outline 
and,  by  the  addition  of  incised  nodes  and  fillets,  rep- 
resent the  fish  in  truly  realistic  fashion.  The  teeth 
are  reproduced  by  zigzag  incisions.  The  neck  of  this 
graceful  urn-shaped  vase  is  adorned  with  a  series  of 
six  scrolls,  below  which  runs  an  incised  fillet,  broken 
at  the  handles.  Each  of  the  handles  is  formed  by 
three  twisted  strands. 

The  dorsal  fins  are  generally  sacrificed  to  the  dorsal  slit,  but  this  is  sometimes 
avoided  by  bridging  the  slit,  as  in  the  foregoing  case.  There  is  no  such  bridge 
in  figure  6,  so  that  the  second  dorsal  fin  is  placed  forward  between  the  eyes, 
and  the  first  dorsal  rests  on  the  tip  of  the  nose.  The  mouth  is  represented  in 
a  summary  way  by  means  of  two  parallel  incisions.  Pectoral,  ventral  and  caudal 
fins  are  present.  The  ornaments  on  the  neck  consist  of  foot  symbols  and  an 
incised  fillet. 

Especially  noteworthy  are  the  highly  curved,  fishlike  legs  of  figure  c.  Both 
dorsal  fins  are  sacrificed  here,  but  pectoral  and  ventral  fins  are  present.  The 
caudal  fin,  though  distinctly  forked,  is  not  incised.  The  slightly  open  mouth  is 
formed  by  fillets,  and  into  the  opening  are  stuck  pellets  for  teeth.  The  incised 
band  about  the  neck  of  the  vase  resembles  the  carapace  symbol.  Each  handle 
is  made  of  three  twisted  strands.  The  interior  of  each  hollow  leg  is  covered  by 
a  beautiful  grooved  pattern. 


Fig.  141. — Tripod  support,  the  only 
ornamentation  being  a  (single 
dorsal  fin.  Fish  ware.  V1 


86  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

An  unusual  type  of  tripod  is  reproduced  in  figure  d.  The  paste  and  exterior 
are  those  of  the  armadillo  ware,  but  the  shape  is  unique.  The  long  neck  is 
cone-shaped  and  the  plain  handles  are  angular.  It  is  placed  here  because  of  the 
fish  supports.  Only  the  pectorals  and  the  caudal  fin  remain.  The  eyes  are  omitted, 
the  mouth  being  the  feature  emphasized.  The  longitudinally  incised  fillets  about 
the  mouth  opening  are  in  parallel  planes,  so  far  apart  that  the  mouth  has  four 
corners  instead  of  two.  The  teeth  are  indicated  by  incised  parallel  lines.  It  will 
be  noted  that  one  foot  is  immediately  below  the  handle,  an  exception  to  the 
rule,  which  is  that  one  leg  divides  the  space  between  the  handles  about  equally 
on  one  side,  while  the  other  two  legs  are  attached  near  the  handles  on  the  opposite 
side.  Rarely  is  there  a  deviation  from  this  symmetrical  arrangement  of  handles 
and  supports,  as  will  become  evident  from  a  study  of  the  illustrations.  There  is 
another  vase  in  the  collection  that  is  even  more  like  the  tripods  of  the  armadillo 
ware  as  regards  paste  and  form,  but  it  has  handles  and  the  legs  are  long.  The 
eyes  reappear  in  figure  e,  so  does  the  dorsal  fin,  which  is  slightly  forward  of  the 
eyes.  The  mouth  is  an  incised  fillet. 

There  seem  to  be  certain  general  rules  governing  the  use  of  life  forms  as  tripod 
supports.  One  is  that  all  three  should  represent  one  and  the  same  animal. 
Figure  /  shows  one  of  the  very  few  exceptions  that  prove  this  rule.  Here  one 
leg  represents  the  fish,  while  the  other  two  are  highly  realistic  alligator  forms. 
The  alligator  nostrils,  eyes  and  ears  are  conspicuous.  The  osseous  dorsal  plates 
are  represented  by  annular  indentations  and  there  are  five  cone-shaped  prominences 
along  the  vertebral  column.  The  saurian  attitude  of  the  limbs  is  well  rendered. 
The  second  illustration  brings  the  mouth  and  teeth  of  the  alligator,  as  well  as  of 
the  fish,  into  view.  The  nose  of  both  alligators  is  pressed  against  the  rim  of  the 
vase,  while  that  of  the  fish  falls  considerably  short  of  the  same.  Spots  of  red 
paint  on  the  legs  and  on  the  interior  of  the  vase  have  been  spread  in  a  way 
characteristic  of  this  group,  viz.,  by  rubbing.  The  outer  surface  of  the  bowl  is 
so  blackened  by  smoke  and  soot  as  to  make  it  impossible  to  determine  whether 
it  was  flecked  or  given  a  uniform  coat  of  paint.  The  two  alligator  supports  are 
slit  ventrally  and  supplied  with  movable  balls  of  clay.  The  fish  support  is  slit 
both  ventrally  and  dorsally  and  also  supplied  with  a  ball  of  burnt  clay. 

From  his  study  of  Chiriquian  pottery,  Holmes  concludes  that  "  there  is  a  general 
consistency  in  the  use  of  life  forms. "  He  says :  "  The  fish  and  other  creatures 
used,  although  variously  conceived  and  treated,  are  never  confused.  When  the 
fish  is  employed,  no  features  suggesting  other  animals  appear  and  when  the  heads 
of  other  creatures  occupy  the  upper  extremity  of  the  leg  all  the  details  refer  to 
these  creatures  with  uniform  consistency." 

There  are  some  noteworthy  exceptions  to  this  rule  in  the  Yale  collection,  as 
the  accompanying  illustrations  will  show.  The  legs  seen  in  figure  142  embody 
a  complete  fusion  of  the  fish  and  the  human  form,  the  same  pair  of  eyes  answering 
equally  well  for  each.  The  prominent  fish  mouth  serves  as  a  head-dress  for  the 
human  figure.  The  hands  rest  on  the  lower  part  of  the  chest.  The  incised  pattern 
below  stands  for  a  garment  or  wrapping.  They  may  be  referred  equally  well  to 
the  fish,  as  the  fishlike  legs  of  certain  other  tripods  are  incised  in  a  somewhat 
similar  manner.  The  likeness  of  this  tripod  bowl  to  vessels  of  the  handled  group 


THE  TRIPOD  OR  FISH  GROUP. 


87 


Fig.  142. 


is   worthy   of  note.      The   legs,   handles  and  neck  are  not  painted,  neither  is  the 
interior  below  the  orifice. 

There  is  also  a  fusion  or  confusion  of  forms  in  figure  143.  The  mouth  and  the 
pectoral  and  caudal  fins  are  faithfully  rendered.  On  the  nose,  however,  and  pro- 
jecting some  distance  farther  forward  than  its  tip,  is  built  up  the  head  of  an  owl 
with  prominent  eyes  made  of  coiled  fillets. 
In  a  median  line,  just  below  the  eyes, 
is  a  projecting  cone,  which  from  its  position 
and  shape  might  answer  to  the  require- 
ments of  a  dorsal  fin  as  well  as  of  the 
owl's  beak.  It  is  probably  intended  for 
the  beak  only,  because  of  the  single  in- 
cision on  either  side.  The  owl's  feet 
appear  a  little  lower  down.  Each  handle 
of  the  vase  is  marked  by  a  median  in- 
cision, to  meet  which,  parallel  incised  lines 
are  carried  down  from  either  side.  On 
each  side,  also,  and  reaching  from  handle 
to  handle,  a  broad  fillet  is  attached  to  the 
neck  and  cut  by  a  median  incised  line 
running  horizontally.  But  before  the 
horizontal  incision  was  made,  the  fillet 
was  incised  with  numerous  parallel  slant- 
ing lines.  A  series  of  eye  symbols,  six 
in  all,  is  applied  just  above  the  fillet,  three 
on  either  side.  None  of  the  relief  embel- 
lishments are  painted,  the  color  being 
applied  only  to  smooth  surfaces.  The 
interior,  as  usual,  is  flecked  with  paint 
and  more  highly  polished  than  the  ex- 
terior. 

A  vase  (fig.  144)  that  may  not  be  of 
native  Chiriquian  workmanship  is  intro- 
duced here  because  the  legs  combine  fish 
characters  with  those  of  some  carnivorous 
animal.  For  the  fish,  there  are  two  pairs 
of  lateral  fins  and  one  dorsal  fin,  but  no 
eyes  nor  mouth.  The  other  life  form  is 
represented  by  the  head  and  forelegs.  This 

,.  .       ,,        Fig    142.  — Tripod   in    which    the   supports   embody   a 

5  resembles  a  class  of  pottery  m  the      sfusion  oftheFfish  and  the  human  {££  Fishware!  •/• 

Keith    Collection    recently     found     at    PaSO    F'g-  H3- — Tripod  in  which  the  supports  combine  the 
TJ^«I     /-«  TT  L    r        r  ,1        /~«i  •   •          fish  with  the  head  and  feet  of  the  owl    Fish  ware.  '/» 

Keal,  Costa  Rica,  not  far  from  the  Chiri- 
quian frontier. 

The  supports  are  of  uniform  diameter  throughout  the  greater  part  of  their  length. 
They  are  not  curved,  neither  are  they  spreading.  The  three  rows  of  slits  in  each 
look  as  if  they  might  have  been  made  after  the  paste  had  hardened.  There  are 


Fig-  143- 


88 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


no  balls  within.  One  does  find,  however,  in  each  leg  a  quantity  of  angular 
fragments  of  burnt  clay,  apparently  punched  from  the  slits  as  the  latter  were 
being  made.  They  answer  all  the  purposes  of  the  ordinary  movable  ball.  A 
similar  phenomenon  has  already  been  noted  as  occurring  in  a  series  of  tripods 
belonging  to  the  armadillo  group  (PI.  VI,  figs.  /,  g  and  K).  The  neck  is  embellished 
with  an  incised  band  on  each  side  extending  from  handle  to  handle.  At  the  ends 
and  in  the  middle  of  each  band,  there  is  a  fin  symbol. 

Two    short  bands  of  clay   are  applied  horizontally  to  each  diminutive  handle. 
The   bowl  is  pointed  at  the  bottom  and  relatively  high,  with  a  distinct  shoulder. 


Fig.  144. 


Fig-  145- 

Fig.  144. — Tripod  in  which  the  legs  combine  characters 
of  the  fish  with  those  of  some  carnivorous  animal. 
Fish  ware.  V1 

Fig.  145. — Ornate  tripod  with  twisted  handles  re- 
presenting animal  forms.  Fish  ware.  '/« 


A  solid  coat  of  red  paint  covers  the  inner  surface  of  the  neck  leading  down  to 
the  orifice,  and  the  outer  surface  of  the  bowl  from  the  shoulder  down.  The  legs 
and  outer  surface  of  the  neck  and  shoulder  are  pale  chocolate  —  the  color  of  the 
slip.  The  paste  is  reddish  brown. 

Two  other  exceptions  to  the  general  rule  of  consistency  may  be  found  in 
Plate  XXIV.  That  the  tripod  legs  in  figure  a  are  intended  to  represent  fish  is 
indicated  by  a  pointed  nose  and  pectoral  fins,  but  grotesque  apelike  forms  are 
seated  on  the  nose  of  each  fish.  This  is  the  largest  tripod  in  the  collection  and 
the  only  one  of  this  group  not  provided  with  handles.  The  interior  is  painted 
with  more  care  than  the  exterior.  In  figure  6,  the  legs  are  all  alike  except  that 
the  embellishment  at  the  hip  is  different  in  each  case  —  an  alligator  and  two 
species  of  bird,  one  being  the  owl. 


THE  TRIPOD  OR  FISH  GROUP. 


89 


The  hip  ornament  however  is,  as  a  rule,  uniform  for  each  tripod.  In  figure  e, 
it  is  a  long-tailed  beast  in  the  attitude  of  repose,  while  in  figure  d  it  is  a  bird 
(the  hawk  or  owl)  with  coils  for  eyes.  Other  coiled  fillets  adorn  the  neck  of  the 
vase,  the  scroll  pattern  being  the  same  as  that  in  figure  a  (PI.  XXIII),  only 
inverted.  A  very  effective  representation  of  the  owl,  with  prominent  eyes  made 
of  coiled  fillets  and  set  in  a  large  head,  is  shown  in  figure  e.  The  wings  and 
feet  are  also  well  rendered.  The  frog,  which  was  so  prominent  in  the  armadillo 
ware,  reappears  in  figure  /.  Only  the  eyes,  mouth  and  forelegs  are  visible. 

A  vase  uniting  a  number  of  interesting  characters  is  reproduced  in  figure  145. 
The  hip  ornament  is  a  long-tailed  animal  with  prominent  muzzle  and  teeth,  pre- 
sumably the  jaguar.  A  series  of  four  animal  heads  adorns  the  recurved  lip  of  the 
vase,  reminding  one  of  the  head  ornaments  about  the  margin  of  the  seats  in  the 


Fig.  146. — Tripod  in  which  the  supports  are  modi- 
fied to  represent  the  human  form.     Fish  ware.    '/» 


Fig.  147. — Tripod  with    supports    representing  the  human 
form.     Fish  ware.     '/> 


stone  and  terra  cotta  stools,  so  called  (see  Pis.  IV  and  XLVI).  The  decoration 
on  the  neck  consists  of  two  incised  bands  on  either  side  (from  handle  to  handle), 
with  a  row  of  eye  symbols  between.  The  twisted  handle  is  also  supplied  with 
eyes,  apparently  to  emphasize  the  fact  that  a  twisted  handle  is  a  life  form  (see 
PI.  XIII,  figs,  a,  6,  e;  and  figs.  125,  133).  The  Chiriquian  artist  was  seldom  guilty 
of  making  too  free  use  of  decorative  features.  He  rather  overstepped  the  limits 
of  good  taste,  however,  in  this  one  instance. 

The  human  form  does  not  seem  to  have  been  a  particularly  favorite  subject 
with  the  ancient  potters  of  Chiriqui.  Judging  from  the  few  examples  at  hand, 
the  results  were  often  humorous  but  seldom  realistic  or  artistic,  and  in  their  work 
it  is  frequently  impossible  to  distinguish  man  from  the  monkey.  There  is  no 
doubt,  however,  as  to  the  meaning  of  the  tripod  supports  in  figure  146.  All  three 
are  alike  —  short  legs,  long  body,  arms  flexed  at  the  elbows  bringing  the  hands 
to  the  chest,  large  face  and  nose  and  small  cranial  capacity.  The  vessel  is  flecked 
MEMOIRS  CONN.  ACAD.',  Vol.  III.  12 


90 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


with  paint  both  inside  and  outside.  The  hollow  bodies  may  once  have  contained 
movable  balls. 

The  tripod  supports  shown  in  figure  147  are  solid.  The  human  legs  are  indi- 
cated by  a  slit,  which,  however,  does  not  separate  the  feet.  An  indented  band 
surrounds  the  loins.  The  arms  are  rudely  fashioned  and  variously  disposed  in 
the  three  figures.  The  paste  of  this  tripod  is  black,  but  bleached  on  the  surface, 
which  is  faintly  streaked  with  red. 

Figures  148  and  149  represent  supports  from  two  different  tripods  which  are 
apparently  the  work  of  the  same  potter.  The  fusion  of  the  feet,  the  short  legs, 
long  body  and  occipital  flattening  of  the  head  are  all  characteristic.  In  each. 


Fig.  148. 


Fig.  149- 


Fig.  150. 


Fig.  148. — Tripod  support  representing  the  human  form.     Fish   ware.      '/» 

Fig.  149. — Similar  example  from  another  tripod.     Fish  ware.      '/' 

Fig.  150. — Tripod  support  exhibiting  similar  technique,  but  head  of  the  figure  is  scarcely  human.      Fish  ware.     '/> 

there  is  a  praiseworthy  attempt  at  rendering  the  human  ear.  The  nose  is  prom- 
inent; the  arms,  with  one  exception,  are  molded  with  freedom,  being  clear  of 
the  body  for  the  greater  part  of  their  length ;  the  number  of  fingers  and  toes 
ranges  from  seven  to  four,  the  artist  making  no  effort  to  be  exact  in  this  respect, 
but  striving  rather  to  produce  the  effect  of  the  foot  or  hand  as  a  whole.  In  one 
case,  the  knees  are  marked  by  short  bands  of  clay.  A  somewhat  similar  tech- 
nique is  exhibited  in  another  tripod  support  (fig.  150),  except  that  the  arms  and 
legs  are  longer  and  the  head  can  scarcely  be  called  human.  One  hand  rests 
against  the  chin.  The  upper  part  of  one  arm  has  been  lost. 

One  small  tripod  and  a  small  vessel  with  annular  base  are  reproduced  here, 
although  quite  different  in  shape  from  the  characteristic  tripods  of  this  group. 
The  paste  and  painting,  however,  are  common  to  this  ware.  In  figure  151,  the 
legs  are  short  and  solid.  The  bowl  is  shallow,  with  paint  marks  inside  and  out- 
side, but  is  not  provided  with  neck  or  handles.  Fish  and  crab  motives  extend 


THE  TRIPOD  OR  FISH  GROUP. 


91 


half-way  round  the  bowl  just  below  the  rim.  Another  vessel  in  the  series  is 
fundamentally  the  same,  but  with  variations  in  the  details  of  execution.  The  legs 
are  curved  and  set  closer  together,  the  bowl  is  angular  in  outline  and  not  painted 
inside.  The  life  form  on  one  side  of  it  is  probably  intended  to  represent  the 
monkey.  The  interior  of  the  urn-shaped  vessel  shown  in  figure  152  is  given  a 
solid  coat  of  red  paint ;  of  the  exterior,  only  the  neck  and  the  concave  bottom 


Fig.  151. — Tripod,  the  shallow  bowl  of  which  is  decorated 
with  crab  and  fin  motives.     Fish  ware.     V> 


Fig.  152. — Vase    with     annular    base. 
Fish  ware.     '/• 


are  painted.     The  zone  between  shoulder  and  base  bears  relief  ornaments  and  is 
finished  in  a  salmon-colored  slip. 

The  fish  group  includes  a  number  of  vessels  with  shallow  basins  that  would 
seem    to    be   strangers   here   but  for  the  identity   of  paste  and  paint.      In   these 


'53- — Tripod    with    elongated    shallow   bowl,    and 
handles  suggesting  life  forms.     Fish  ware.     '/> 


Fig.  154. — Another  tripod  similar  in  type,  unpainted  ; 
from  Bugavita.     Fish  ware.     V> 


respects  they  help  to  link  the  fish  group  with  the  handled  ware.  One  has  been 
led  to  associate  tripods  with  vertical  handles ;  but  in  figures  153  and  154,  the 
handles  being  modifications  of  the  rim,  belong  to  the  horizontal  type.  Some  are 
twisted,  others  are  accompanied  by  foot  symbols,  and  still  others  are  perfectly 
plain.  Figure  154,  an  unusual  type,  shows  the  only  one  that  does  not  bear  marks 
of  red  paint.  The  legs  in  all  are  rudely  finished. 

There  are   two   tripods  in   the  collection  that  cannot  be  referred  to  any  of  the 
groups  into  which  the  Chiriquian  pottery  has  been  divided.      Although  found  in 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Chiriqui,    they  may   be  importations,  probably    from    Costa    Rica,    as    the    tripod 

supports  resemble  certain  pieces  found  by  Hartman  at  Orosi.    The  example  shown 

in  figure  155  is  from  Caldera :   another, 

not   figured,    is    from    El  Banco.      They 

are   alike  in   every   respect.     The   paste 

is  friable  and  rather  coarse.     The  neck 

ornaments    are   identical,   and    the   same 

animal  form  is  embodied  in  the  legs  of 

each.     The    slip    in    the    one   figured    is 

yellow,  and  large  triangular  areas  painted 

red  alternate  with  the  three  tripod  legs. 

The  surface  of  the  other  is  so  completely 

altered    by    smoke    as   to    obliterate   all 

traces  of  slip  or  paint. 


THE  RED  LINE  GROUP. 

The  red  line  group  is  represented  by 
thirty-one  vessels  with  a  wide  range  of 
form  but  with  certain  uniform  characters. 
Faulty  firing  is  indicated  by  discolored 
spots  on  the  surface  and  by  cracking  of 
the  paste.  The  paste  and  slip  are  of 
the  same  color— a  light-gray  orange. 
The  delineating  color  is  a  bright  sienna 
red,  resembling  the  red  of  the  handled 
and  tripod  groups. 

An  idea  of  the  variety  of  form  within  this  comparatively  small  group  may  be 
gained  by  consulting  Plate  XXV.  The  handles  when  present  are  always  vertical 
loops,  either  paired  or  single.  The  supports  of  tripods  are  always  looped  bands 
of  clay.  Annular  supports,  either  solid  or  perforated,  are  quite  frequently  em- 
ployed. At  least  a  dozen  pieces  bear  marks  of  use. 

Figure  a  represents  a  graceful  type  of  vase,  with  globular  body,  from  which 
large,  gently  curving  loop  handles  rise  to  fuse  with  the  prolonged  lip  on  either 
side.  Each  handle  is  decorated  with  an  indented  fillet  applied  in  the  region  of 
the  sharpest  curve.  Above  and  below  each  fillet  is  a  band  of  red  that  is  also 
carried  along  the  margins  of  the  lip  and  handles.  There  is  likewise  a  painted 
panel  on  either  side  of  the  body,  reaching  from  the  neck  to  the  level  of  the 
attachment  of  the  handles  with  which  the  panels  alternate.  The  paint  is  care- 
lessly applied,  being  allowed  to  run  at  some  of  the  corners.  The  surface  is  every- 
where marked  by  evidences  of  handling  and  use  previous  to  burial.  The  round 
spot  of  paint  found  on  the  bottom  of  a  majority  of  the  vases  of  the  red  line 
group  is  lacking  in  this  one. 

By  removing  one  handle  and  the  prolongation  of  the  lip  on  the  same  side, 
one  arrives  at  the  form  seen  in  figure  b.  the  outlines  of  which  are  particularly 
pleasing.  There  is  the  same  graceful  curve  to  the  handle,  which  is  also  supplied 


Fig.  155. — Tripod  embodying  animal  forms  in  the 
supports  ;  from  Caldera.  Probably  of  Costa  Rican 
origin.  '/! 


THE  RED  LINE  GROUP. 


93 


with  an  indented  horizontal  fillet  representing  some  life  form.  The  paint  is 
applied  to  the  handle  and  the  rim  as  in  the  preceding,  with  a  painted  panel  on 
either  side.  Between  these  panels  and  opposite  the  single  handle  are  two  plain 
nodes  of  clay.  A  large  black  spot  on  the  outer  surface  is  due  to  faulty  firing. 

A  different  effect  is  produced  by  the  specimen  shown  in  figure  c,  where  the 
neck  is  smaller  and  the  lip  is  prolonged  almost  horizontally  to  meet  the  ascending 
ramus  of  the  single  handle.  On  the  neck,  opposite  the  handle  and  protected  by 
the  projecting  lip,  are  nodes  and  fillets  applied  so  as  to  reproduce  the  human 
features  —  ears,  eyes  and  nose.  At  the  base  of  the  neck  there  is  a  slight  beading. 
A  pattern  painted  in  red  lines  covers  the  upper  half  of  the  body  on  either  side, 
and  the  bottom  is  painted  red. 

A  representation  of  the  vases  without  handles  or  supports  is  given  in  figure  d. 
The  margin  of  the  rim  is  marked  by  radiating,  straight-line  incisions,  inside  of 
which  is  a  band  of  red  paint.  Another  band  of  color  encircles  the  body  in  the 
region  of  its  greatest  diameter,  and  the  customary  large  round  spot  of  red  adorns 
the  bottom.  The  walls  are  thick  and  not  carefully  worked  over  the  inner  sur- 
face. 

The  characteristic  looped  tripod  foot  is  shown  in  figure  e,  a  specimen  from 
Caldera.  Indeterminate  life  forms  are  applied  on  opposite  sides  of  the  body,  the 
upper  half  of  which  is  also  adorned  with  a  ladder-like  zigzag  pattern  in  red 
encircling  the  vessel.  The  walls  are  thin  and  badly  cracked. 

The  tall  ewer-shaped  vessel  re- 
produced in  figure  /  is  unique.  It 
may  have  served  as  a  drum.  A  drum- 
head could  have  been  stretched  over 
the  aperture  and  made  fast  to  the 
prominences  that  surround  the  neck. 
The  bell-shaped  base  is  not  perforated. 
A  slip  covers  the  interior  of  the  mouth 
opening  to  a  depth  of  three  centi- 
meters and  on  it  two  red  bands  are 
traced  horizontally ;  a  third  marks  the 
rim,  and  two  more  surround  the  neck 
just  above  the  relief  ornament.  Four 
horizontal  bands  encircle  the  body,  one 
of  them  being  a  series  of  connected 

triangular    areas.      The    base    also    is    marked    by    longitudinal    and    transverse 
bands. 

The  large  tripod  reproduced  in  figure  156  comes  from  El  Banco.  A  red  band 
encircles  the  rim,  while  groups  of  parallel  red  lines  alternating  with  small  trian- 
gular painted  areas  adorn  the  shoulder.  The  walls  are  thick  and  firm.  A  bowl 
from  Gualaca  with  unusual  characters  is  illustrated  in  figure  157.  The  walls  are 
ten  millimeters  thick.  The  annular  base  is  low  and  not  perforated ;  its  rim  and 
outer  surface  are  painted  red.  Three  broad  bands  of  red  are  carried  upward  from 
the  annular  base  to  the  rim  at  the  aperture,  which  is  also  adorned  with  a  band 
of  the  same  color.  The  three  alternating  fields  are  partially  filled  in  with  red 


Fig.  156. — Tripod  with  short  looplike  supports;  from  El 
Banco.      Red  line   ware.      ll> 


94 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


lines,  to  some  of  which  comblike  patterns  are  attached.  Contrary  to  custom,  the 
interior  of  this  shallow  open-mouthed  bowl  is  undecorated,  except  by  a  spattering 
of  paint,  which  may  or  may  not  be  intentional. 

When  the  vessels  are  shallow,  the  painted  decoration  is  confined  to  the  upper 
rim   and  the   interior,  where  it  would  be   the  most  easily  visible.     Figure  158  is 


Fig-  157- 


Fig.    158. 

Fig-   157- — Bowl  with  low   annular  base;  from 

Gualaca.     Red  line  ware.     V« 
Fig.    158. — Bowl  with  perforated  annular  base. 

Red  line  ware.     '/» 


Fig.  159. 


Fig.  160. 

Fig.  159. — Shallow  bowl  with  perforated 
annular  bell-shaped  base ;  from  El 
Banco.  Red  line  ware.  */' 

Fig.  1 60. — Globular  vase.  Red  line  ware.1/' 


an  example.  The  annular  base  or  foot  is  pierced  by  four  unsymmetrical  holes. 
On  the  interior,  a  gridiron-like  pattern  reaches  from  margin  to  margin,  passing 
by  the  center  and  provided  with  two  lateral  projections  near  each  end.  The 
annular  foot  in  figure  159  is  taller,  bell-shaped  and  provided  with  two  large  sym- 


THE  CHOCOLATE  INCISED  GROUP. 


95 


metrical  perforations.  A  pattern  composed  of  groups  of  parallel  lines  meeting,  at 
an  angle  and  forming  a  cross  completely  covers  the  interior.  This  specimen, 
which  comes  from  El  Banco,  is  slightly  discolored  by  use.  Some  of  the  more 
simple  forms  consist  of  globular  bodies  with  neck  and  rim  ;  the  handles,  feet  and 
other  plastic  accessories  being  absent.  Figure  160  is  an  example. 


THE  CHOCOLATE  INCISED  GROUP. 

This  is   a  small  group   numbering  only  eight  specimens,  all  tripods.     It  is  not 
mentioned  by  Holmes.     Reference  to  the  illustrations  gives  one  a  good  idea  as 
to  the  homogeneity  of  the  group.     The  walls  are  comparatively  thin  and  carefully 
formed,   both   as    to    exterior   and 
interior.     The  paste  and  firing  are 
of  such   a  character   as   to    make 
the  vessels  practically  impervious 
to   water.     The  chocolate  colored 
coating  applied  uniformly  over  the 
entire  outer  surface  and  the  visible 
portion  of  the  aperture  is  probably 
in  the  nature  of  a  slip.     The  paste 
is  somewhat  lighter  in  color  than 
the  slip. 

Another  characteristic  feature  is 
the  incised  ornament  completely 
encircling  the  shoulder  on  each 
tripod.  The  incisions  were  made 
after  the  application  of  the  color- 
ing matter  and  probably  after  the 
firing,  the  instrument  used  evidently 
being  either  of  stone  or  metal. 
The  incisions  are  narrow  and 

shallow  in  some  cases  and  broad  and  deep  in  others.  The  patterns  usually  consist 
of  three  quadrangular  fields  filled  in  wholly  or  partially  by  cross  lines,  with  groups 
of  parallel  vertical  lines  at  both  ends  of  each  field  (fig.  161).  The  panels  are  some- 
what lengthened  in  figure  162  and  not  accompanied  by  the  groups  of  parallel 
vertical  lines,  while  in  figure  163  a  single  unbroken  pattern  completes  the  circuit. 
The  latter  is  one  of  the  smallest  tripods  in  the  entire  collection,  its  height  being 
less  than  four  centimeters. 

The  tripod  supports  are  generally  solid,  short,  straight,  pointed  pegs.  In 
figure  161,  they  are  slightly  curved,  hollow  and  provided  with  pellets,  but  not 
slit.  Figure  162  differs  from  the  others  in  several  respects.  The  body  represented 
is  a  shallow  open-mouthed  bowl.  The  relatively  large  legs  are  incised,  hollow, 
perforated,  supplied  with  pellets  and  so  fashioned  as  to  resemble  an  animal 
head. 

The  chocolate  incised  group  resembles  a  certain  class  of  Costa  Rican  pottery 
from  Tres  Rios.  Figures  161  and  162  illustrate  ware  from  a  locality  twenty-five 


Fig.  161. — Tripod  vase  with  incised  shoulder  and  short  hollow 
supports  supplied  with  pellets  but  not  slit ;  from  Divala. 
Chocolate  incised  ware.  Vi 


96 


A  STUDY  OF  CHIRIQUIAN   ANTIQUITIES. 


miles  west-northwest  of  David.     A  single  specimen  from  the  environs  of  David, 
somewhat  similar  to  the  former,  is  figured  by  Alphonse  Pinart.1 


Fig.  162. — Tripod  with  incised  panels  on  shoulder 
and  short  supports  representing  animal  heads  ;  from 
Divala.  Chocolate  incised  ware.  V" 


Fig.  163.- — Very  small  tripod  with  unbroken 
incised  pattern  around  shoulder,  and  short 
solid  supports.  Chocolate  incised  ware.  '/' 


THE  SCARIFIED  GROUP. 

The  scarified  group  numbers  twenty  specimens  in  all.  Sixteen  are  tripods, 
three  have  convex  bottoms,  and  one  is  flat-bottomed.  A  slightly  raised  marginal 
flange  in  the  last-named  has  preserved  the  flat  bottom  from  wear.  All  are  covered 
with  a  uniform  coat  of  maroon  paint,  which  in  most  cases  is  spread  over  the 
surface  of  the  interior  also.  The  paint  was  applied  after  the  scarifications  had 
been  made  and,  'as  a  rule,  the  scratched  areas  were  not  painted.  The  region 
bounded  by  the  feet  of  the  tripods  is  always  left  smooth. 

A  majority  of  the  pieces  come  from  a 
locality  twenty-five  miles  northwest  of  David, 
at  the  head-waters  of  a  stream  called  in 
McNiel's  notes,  Rio  Chiriagua.  Seven  or 
eight  are  from  Caldera  about  twenty  miles 
northeast  of  David,  and  the  large  flat-bottomed 
vessel  (see  PI.  XXVI,  fig.  a)  came  from  a 
locality  noted  by  McNiel  as  being  at  lati- 
tude 8°  34'  N.  and  longitude  82°  26'  W.  of 
Greenwich,  i.  e.,  about  eight  or  ten  miles 
north  of  David.  The  pottery  of  this  same 
group  described  by  Holmes  came  from  the 
graves  of  the  two  other  localities,  "  one  near 
C.  E.  Taylor's  hacienda,  north  of  David,  on 
the  slopes  of  Mount  Chiriqui,  and  the  other 
at  Alanje,  southwest  of  David."  Specimens 

of  this  ware  are    therefore   fairly  well  distributed  over  the  province  of  Chiriqui, 
although  found  in  relatively  small  numbers. 


Fig.  164.—  Non-scarified  vase  with  handles  crudely 
representing  animal  forms ;  from  Caldera 
Scarified  ware.  '/> 


1  Les  indiens  de  1'Etat  de  Panama.     Rev.  d'ethnogr.,  125,  fig.  20,  1887. 


THE  SCARIFIED  GROUP. 


97 


Holmes  speaks  of  the  group  as  being  a  variety  of  ware  standing  "  so  entirely 
alone  that  had  it  arrived  unlabeled  no  one  would  have  recognized  its  affinities 
with  Chiriquian  art/'  The  group  does  possess  a  number  of  distinct  characters. 
On  the  other  hand,  the  affinity  of  certain  pieces  with  specimens  of  the  maroon 
group  was  so  marked  that  great  difficulty  was  experienced  in  classifying  the 
specimens  in  question.  The  piece  shown  in  figure  164,  for  example,  resembles 
very  closely  one  of  the  maroon  vases  (see  fig.  170).  Both  are  from  the  same 
locality,  Caldera,  and  are  alike  in  shape  and  size.  Even  the  handles  are  of  the 


Fig.  165. — Tripod    bowl    with    handles    and   supports   resembling    head,   wings   and 
tail  of  a  bird  (or  man)  ;    from  Caldera.     Scarified  ware.     V" 

same  type,  except  that  in  one  case  they  stop  short  of  making  a  complete  loop, 
and  end  in  a  crude  pattern  suggesting  the  ornament  found  on  the  loop  handles 
of  the  other  at  relatively  the  same  zone.  The  ornament  in  both  instances  is 
intended  to  convey  the  same  idea,  that  is  still  better  expressed  in  figure  165. 
Here  the  handles,  three  in  number,  are  probably  intended  to  represent  a  bird 
perched  on  the  shoulder  of  the  vessel.  Each  is  directly  over  one  of  the  three 
feet.  These  suggest  more  than  anything  else 
the  spreading  tail  of  a  bird  and  are  provided 
with  an  incised  band  at  the  tip.  It  would  seem 
as  if  a  section  of  the  bird  had  disappeared  in 
the  body  of  the  vessel  that  spans  the  distance 
between  shoulder  ornament  and  foot.  This 
specimen  is  from  Caldera  also. 

It  will  be  seen  from  figure  164  that  scarifica- 
tions are  not  always  present.  Another  example 
without  scarification  is  given  in  figure  166,  which 

is  heart-shaped  in  horizontal  section,  the  form  Fig.  166.— Non-scarified  tripod,  heart-shaped 
•being  produced  by  a  vertical  indentation  on  one  in  horizontal  section.  Scarified  ware.  '/« 
side. 

Another  example  of  shoulder  ornament  and  tripod  leg  being  made  to  represent 

the  upper  and   lower  extremities,   respectively,   of  one   and  the  same  creature  is 

seen  in  figure  167,  where  the  human  form  is  treated  rather  fantastically.     Mouth, 

eyes  and   long   hair  are   indicated.      The   hands  rest   on  the   chin.      The    section 

MEMOIRS  CONN.  ACAD.,  Vol.  III.  13 


98 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


from  arm-pits  to  knees  is  lost  in  the  body  of  the  vessel.  Only  one  shoulder  orna- 
ment remains,  the  other  two  having  disappeared,  one  of  them  evidently  while  the 
vessel  was  still  in  use,  as  the  place  where  it  stood  had  been  rubbed  down  and 
painted  before  the  tripod  was  buried  —  an  example  of  prehistoric  pottery  mending 
that  should  not  escape  notice.  This  specimen  is  from  El  Banco. 

One  marked  character  of  the 
group  is  the  tendency  in  the 
tripods  toward  short  legs  placed 
close  together.  The  latter  were 
so  arranged  in  order  that  they 
might  be  made  as  short  as  pos- 
sible, and  they  were  made  short 
because  long  legs  of  such  coarse, 
friable,  poorly  baked  paste  would 
not  long  endure.  They  are  gen- 
erally either  blunt  pegs  or  are 
slightly  spread  at  the  extremity, 
so  as  to  suggest  a'  three-toed 
foot,  probably  that  of  the  tapir. 
The  feet  of  the  flat-bottomed 
tripods  have  completely  dis- 
appeared. The  open-mouthed 
bowl  represented  in  figure  168 
is  a  typical  example  of  the 
bunching  of  three  short  legs. 

Two  of  the  tripods  are  ob- 
long basins,  with  the  rim  carried 
up  to  a  point  at  the  ends,  near 
each  of  which  are  two  rim  nodes. 
Figure  169  is  an  example.  There 
are  four  scarified  areas  on  each 
vessel  —  two  on  a  side,  an  upper 
and  a  lower,  separated  by  a 
narrow,  horizontal,  smooth  band. 
The  areas  of  one  side  are  sep- 
arated from  those  of  the  other 
by  a  wide,  vertical,  smooth  band 
at  both  ends  and  along  the 
bottom,  where  the  band  spreads 

fig.  1 68.  — Open-mouthed  bowl   with   three   short    supports    placed 

close  together.    Scarified  ware.    '/«  into   a  field  in  which  the  three 

stump  legs  are  set.    A  thin  coat 

of  maroon  paint  covers  the  entire  surface,  both  inside  and  outside,  including  the 
incised  patterns.  In  another  boat-shaped  tripod  vase,  the  paint  was  applied  to 
the  smooth  surfaces  only.  That  it  was  applied  after  the  incised  patterns  were 
made,  is  evidenced  at  numerous  points  by  the  careless  way  in  which  the  paint 
was  allowed  to  fill  the  incisions  that  border  on  smooth  fields.  This  is  best  seen 


Fig.  167. — Tripod  in  which  shoulder  ornaments  and  supports  rep- 
resent the  head  and  arms,  and  the  legs  of  the  human  figure, 
respectively;  from  El  Banco.  Scarified  ware.  '/» 


THE  SCARIFIED  GROUP.  99 

in  the  upper  areas,  where  small  groups  of  parallel  incisions  alternate  with  narrow 
painted  bands.  The  scarifications  in  the  lower  fields  are  the  exact  counterpart 
of  a  geologist's  drawing  to  represent  cross-bedding  in  section. 

Some  of  the  finest  specimens  of  the  scarified  ware  are  reproduced  in  Plate  XXVI. 
The  most  remarkable  member  of  the  group  is  the  large  jar  with  flat  bottom 
and  flaring  rim  (fig.  a).  Holmes  figures  a  jar  of  somewhat  similar  make,  but 
smaller  and  less  attractive  in  form  and  finish.  The  scarified  zone  reaches  from 
near  the  base  to  the  neck,  and  therefore  covers  the  surface  of  a  truncated  cone. 
A  careful  study  of  the  incised  lines  reveals  the  relative  order  in  which  they  were 
made.  The  circumferences  at  neck  and  base  were  first  described.  The  twelve 
groups  of  vertical  lines,  three  in  a  group,  followed  and  were  drawn  from  neck 
toward  base.  The  twelve  alternating,  rather  broad  bands  were  then  scarified 


Kig.  169. —  Boat-shaped    tripod    with   rim   extended  to  a  point   at   either  end,    each    point  being  accompanied   by 
two  nodes.     Scarified  ware.     Va 


obliquely,  the  lines  being  drawn  always  from  above  downward  —  to  the  right  in 
one  field  and  to  the  left  in  that  adjoining.  Many  of  the  vertical  lines  are  almost 
as  straight  as  if  they  had  followed  a  ruler.  But  all  the  work  is  free-hand  and 
has  the  air  of  having  been  done  by  a  skilled  hand  working  rapidly.  The  entire 
surface,  both  within  and  without,  is  painted.  The  jar  is  26.5  centimeters  high. 
The  walls  at  the  rim  are  one  centimeter  thick  and  they  grow  gradually  thicker 
in  the  direction  of  the  base,  which  is  itself  quite  ample.  Thus  the  vessel,  though 
empty,  could  be  overturned  with  difficulty.  Empty,  it  weighs  3000  grams,  and 
yet  its  capacity  (sand)  when  filled  to  the  brim  is  only  1810  cubic  centimeters. 
Its  serviceableness  as  a  containing  vessel  was  relatively  small.  On  the  contrary, 
it  would  hold  weighty  substances  without  danger  of  bursting  and  may  have  seen 
service  in  that  capacity.  It  does  not  seem  to  have  been  used  over  the  fire,  but 
a  majority  of  the  vessels  in  the  scarified  group  were  so  employed. 

The  convex  bottom  of  another  vessel  not  supplied  with  legs  is  completely 
covered  with  scarifications  (fig.  b).  This  is  a  two-storied  vase.  The  upper  story 
being  left  without  incisions  while  the  lower  is  entirely  covered  by  them,  the 
effect  is  the  same  as  if  a  smaller  bowl  had  been  set  into  a  larger  one.  It  is  always 
desirable,  therefore,  that  illustrations  of  such  specimens  should  be  labeled  as 


100  A  STUDY  OF   CIIIRIQUIAN   ANTIQUITIES. 

composite  vessels  in  order  to  avoid  mistaking  them  for  illustrations  of  bowls  that 
are  stacked  for  the  purpose  of  saving  space. 

One  vase  in  this  group  is  mounted  on  four  legs  (fig.  c~).  To  complete  the 
zoomorphic  unit,  a  head  and  tail  are  applied  on  opposite  sides  below  the  rim. 
The  carapace  motive  on  either  side  proves  that  the  animal  represented  is  the 
armadillo.  The  artist,  however,  took  some  liberty  with  his  motive,  making  the 
lines  in  the  anterior  and  posterior  sections  of  the  carapace  run  longitudinally 
instead  of  transversely.  A  graceful  form  of  tripod  is  to  be  seen  in  figure  d.  The 
legs  are  rather  long  for  this  group,  but  are  solid  like  all  the  others.  They  probably 
represent  the  armadillo,  the  head  of  which  is  indicated  by  the  prominence  at 
the  hip. 

The  bell-shaped,  flat-bottomed  tripod  vase  with  legs  missing  (fig.  e)  is  an  inter- 
esting type.  The  bottom  is  smooth.  The  sides  are  divided  into  two  unequal  zones 
of  scarifications,  an  upper  and  a  lower,  by  a  horizontal  painted  band  near  the 
top.  The  lower  zone  is  itself  divided  into  three  fields  by  means  of  three  vertical 
painted  bands.  The  scarified  surfaces  were  left  unpainted.  These  give  the  effect 
of  having  been  produced  by  the  impress  of  some  textile  fabric.  Two  lizard-like 
forms  in  relief,  on  opposite  sides,  complete  the  decoration. 

The  entire  surface  above  the  feet  of  one  small  tripod  (fig.  /)  is  scarified  in  a 
manner  that  suggests  the  warp  and  weft  of  basketry.  Figure  g  is  interesting  in 
that  one  of  the  vertical  scarified  bands  which  encompass  the  body  of  the  vessel 
was  left  unfinished.  And  yet  this  tripod  had  seen  considerable  service  over 
the  fire. 

THE  MAROON  GROUP. 

Holmes  called  one  group  of  Chiriquian  pottery  the  maroon  group  "  for  want 
of  a  better  name."  He  figures  four  out  of  a  total  of  not  more  than  a  dozen 
pieces  in  the  National  Museum.  The  collection  in  the  Yale  University  Museum 


Kig.  170. — Vase    with  loop  handles  strongly  resembling  Fig.  171. — Vase    ornamented    with    scarifications 

that   shown   in    figure   164;    from    Caldera.      Maroon  alternating    with     pairs    of     vertical     punctate 

ware.     '/>  ribs.     Maroon   ware.     */» 

numbers  perhaps  no  more.  Mention  has  already  been  made  of  the  difficulty 
experienced  in  deciding  whether  certain  specimens  belonged  to  this  or  to  the 
scarified  group,  and  in  that  connection  figure  170  was  fully  described  (p.  97). 
The  paste  of  which  the  piece  represented  in  figure  171  is  composed,  resembles 
very  closely  that  in  the  scarified  ware,  except  that  it  is  somewhat  finer.  Moreover, 


THE  MAROON  GROUP. 


101 


this  specimen,  which  comes  from  thirty-five  miles  north-northwest  of  David,  is  not 
only  actually  scarified,  but  alternating  with  the  scarifications  are  pairs  of  vertical, 
punctate  ribs  suggestive  of  the  long  jointed  lizard's  tail  shown  in  figure  e 
(PI.  XXVI). 

In  a  small  tripod  from  El  Banco  (fig.  172),  the  body  of  the  vessel  is  completely 
encircled  by  a  series  of  plain  vertical  ribs.  The  entire  rib-bearing  surface  was 
never  polished  and  was  simply  stained  a  maroon  color.  The  paste  is  relatively 


Fig.  172.  —  Small  tripod  completely  encircled 
by  a  series  of  plain  vertical  ribs ;  from  El 
Banco.  Maroon  ware.  V» 


ig-  173. — Bowl  with  ornamentation  in  relief; 
from  Divala.     Maroon  ware.     '/« 


fine  and  very  tenacious.  The  ribs  are  applied  fillets,  triangular  in  section.  Of 
similar  paste  is  a  shallow  bowl  from  Divala  (fig.  173).  The  unpolished  band 
encircling  the  vessel  just  under  the  rim  is  decorated  with  a  circle  of  eye  ornaments 
in  relief,  the  circle  being  broken  by  the  figure  of  a  frog  at  each  pole. 

The  open-mouthed  bowl  with   annular  base  and  animal  features  in  high  relief 
(fig.  174)  is  the  most  characteristic  piece  in  the  lot.     The  rim  and  inner  surface 


Fig.  174. 

Fig.  1 74.  -  Open-mouthed  bowl  with  annular  base  and 
animal  features  in  high  relief;  from  near  David. 
Maroon  ware.  '/« 

Fig-  '75'  —  Vase  with  single  handle,  opposite  which 
is  a  relief^  ornament  consisting  of  a  pair  of  eyes, 
prominent  eyebrows  and  a  nose  ;  from  Gualaca. 
Maroon  ware.  '/> 


are  highly  polished  and  painted  a  rich  purplish  maroon  color.     This  bowl  comes 
from  near  David  (Lat.  8°    31'  N. ;  Long.  82°    27'  W.  of  Greenwich). 

A  vase  from  Gualaca,  with  single  vertically  placed  handle  (fig.  175),  completes 
our  list  of  illustrated  specimens  for  this  group.  Its  only  relief  ornament  consists 
of  a  pair  of  eyes,  prominent  eyebrows  and  a  nose,  opposite  the  handle.  The 
weathered  outer  surface  and  the  aperture  were  once  coated  with  maroon  paint. 
The  paste  is  coarse,  but  relatively  durable. 


102 


A  STUDY  OK  CHIRIQUIAN  ANTIQUITIES. 


THE  WHITE  LINE  GROUP. 

Only  four  specimens  can  be  referred  with  certainty  to  this  group.  Three  others 
have  all  the  characters  except  that  white  paint  was  not  used.  Six  of  the  seven 
are  tripods  with  narrow  necks.  The  piece  without  legs  (fig.  176)  is  the  largest 
of  the  group  and  differs  from  the  tripods  in  having  a  comparatively  large  orifice. 

The  shoulder  meets  the  body  proper  at 
a  rather  pronounced  angle,  below  which 
are  numerous  striae  produced  by  an  un- 
usually rough  polishing  instrument.  The 
ground  tint  is  a  dull  red.  Two  indifferent 
animal  heads,  in  relief,  are  used  as  shoulder 
ornaments.  The  shoulder  is  also  decorated 
with  six  groups  of  vertical  lines  in  white, 
that  reach  down  to  the  peripheral  angle. 
Each  line  is  accompanied  by  one  or  two 
rows  of  white  spots,  the  spots  being  mar- 
ginal and  in  actual  contact  with  the  line. 
This  motive  repeated  in  the  next  figure 
is  similar  to  one  that  is  often  employed 
with  variations  in  the  lost  color  and 
alligator  groups,  and  is  evidently  an  al- 
ligator motive,  derived  from  a  dorsal  view 

of  the  alligator  (see  Pis.  XXXI,  XXXVI).     The  vessel  is  badly  smoked  from  use 
over  the  fire. 

Similar  decorative  motives  are  employed  on  a  tripod  (fig.  177)  with  gracefully 
curving  outlines  and  narrow  orifice.  The  ground  tint  is  the  same  —  a  dull  red. 
Indented  nodes  applied  to  the  shoulder  on  either  side  represent  life  forms.  The 


Fig.  176.  —  Vase  decorated   with  the  alligator  dorsal- 
view  motive  in  white.      White  line  ware.     Vi 


ig- '  77- — Tripod,  the  shoulder  of  which  is  decorated 
with  the  dorsal-view  alligator  motive  in  white. 
White  line  ware.  V" 


Fig.  1780. -Small  tripod  with  shoulder  ornamen- 
tation suggestive  of  hieroglyphics,  and  legs  re- 
presenting animal  forms  ;  from  Bugavita.  '/' 


rim  ends  square  against  a  horizontal  plane.  Near  its  outer  margin  begin  six  groups 
of  white  lines,  three  lines  in  a  group,  which  are  carried  downward  in  vertical 
planes  to  about  the  level  of  the  greatest  horizontal  circumference  of  the  body. 


THE  WHITE  LINE  GROUP.  103 

There  is  a  row  of  white  spots  on  both  sides  of  each  group  of  white  lines,  the 
spots  however  seldom  touching  the  lines.  This  again  is  the  dorsal-view  motive 
derived  from  the  alligator,  the  lines  and  spots  representing  the  rows  of  spines  and 
the  scales  on  the  animal's  back.  This  motive  is  described  in  a  subsequent  chapter. 
Each  leg  is  marked  transversely  by  three  parallel  white  lines,  suggesting  the 
carapace  motive  of  the  armadillo.  Sooty  incrustations  cover  the  lower  half  of  the 
outer  surface  of  this  tripod. 

A  small  tripod  from  Bugavita  (fig.  178 «)  presents  some  remarkable  features  in 
the  way  of  decoration,  suggesting  that  the  ancient  Chiriquians  might  have  made 
use  of  a  hieroglyphic  or  phonetic  system  of  writing.  This  tripod  differs  from  the 
preceding  in  having  a  rounded  recurved  rim.  The  inner  surface  of  the  orifice 
and  the  bottom  are  painted  red.  The  rest  of  the  outer  surface,  including  the  legs, 
is  finished  in  a  warm  reddish  gray  slip.  The  legs  are  provided  with  a  head  and 
ears  in  relief  that  remind  one  of  the  characteristic  armadillo  attitude. 

The  white  line  decorations  on  the  shoulder  of  the  vessel  are  arranged  in  three 
groups,  certain  symbols  being  repeated  in  each.  These  can  be  studied  to  better 
advantage  in  the  tracings,  which  show  the  whole  series  at  a  glance  (fig.  178  b}. 
Reading  from  left  to  right  the  first  symbol  is  not  unlike  a  lower-case  d ;  the  second 


Fig.  178*. — Detail  of  shoulder  ornamentation  on  figure   17801.     White  line  ware.     V' 

may  be  compared  to  a  capital  7,  and  the  third  to  a  capital  B.  The  second  group 
begins  in  the  same  way  with  the  d,  the  top  of  which,  however,  is  connected  with 
the  base  of  the  succeeding  I  by  a  stroke  of  the  brush  that  has  no  counterpart 
in  the  first  group.  The  last  symbol  is  slightly  damaged  at  the  base,  but  is 
evidently  the  initial  d  symbol  inverted.  With  one  or  two  minor  exceptions,  the 
third  group  is  the  negative  of  the  second.  The  stroke,  for  example,  that  is  carried 
downward  from  the  top  of  the  negative  d  does  not  connect  with  the  base  of 
the  I,  and  there  is  a  slight  break  in  the  loop  of  the  remaining  symbol.  The 
resemblance  of  these  symbols  to  certain  letters  of  our  alphabet  is  of  course 
fortuitous. 

The  white  line  ware  resembles  a  certain  type  of  Costa  Rican  pottery  more 
closely  than  it  does  any  group  of  Chiriquian  pottery.  The  fact  that  comparatively 
few  specimens  of  the  white  line  ware  have  been  found  in  Chiriquian  graves  is 
another  reason  for  supposing  them  to  be  importations. 

THE  LOST  COLOR  GROUP. 

In  point  of  numbers  the  lost  color  group  ranks  next  to  the  armadillo  group. 
Its  chief  distinguishing  feature,  as  the  name  given  by  Holmes  implies,  is  the 
method  by  which  the  decorative  motives  are  produced  in  color,  or  rather  by  the 
removal  of  coloring  matter.  Aside  from  this  universal  character,  the  vessels  present 


104 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


a  wide  range  in  point  of  form  and  size.  The  vast  majority  may  be  classed  as 
bottle-shaped  vases  with  globular  bodies.  Handles  are  comparatively  rare.  A 
number  of  open  shallow  bowls  are  mounted  as  tripods.  Life  motives  in  relief  are 
sparingly  used.  In  only  a  few  instances  are  these  emphasized  sufficiently  to  stamp 
the  specimen  as  a  zoomorphic  unit.  To  the  latter  class  belong  a  small  number 
of  figurines  that  represent  quadrupeds,  birds  and  serpents  and  serve  as  whistles. 
Other  forms,  including  gourd-shaped  rattles,  are  phytomorphic.  There  are  also 
miscellaneous  forms,  such  as  cylindrical  needle-cases  and  double  cups  with  single 
connecting  arched  handles. 

The  paste  ranges  from  yellowish  gray  to  pale  red.     The  outer  surface  is  care- 
fully  formed   and   polished.     No  attention  is  paid  to  the  inner  surface,  especially 

of  the  narrow-necked  bottles,  the  result  being 
that  the  walls  are  quite  thick  in  some  places 
and  thin  in  others.  This  carelessness  in  the 
finish  of  the  interior  is  seen  in  a  bottle  broken 
in  the  plane  of  its  greatest  diameter  (fig.  179). 
The  inner  surface  is  covered  with  what  appear 
to  be  thumb-marks,  a  fact  which,  taken  in 
connection  with  the  position  of  the  break,  leads 
one  to  conclude  that  the  vessel  was  made  in 
two  pieces.  After  bringing  the  two  pieces 
together,  the  contact  irregularities  were  removed 
by  inserting  a  stick  or  pointed  implement  through 
the  aperture.  Marks  of  this  stick  are  seen 
along  the  line  of  cleavage  on  both  halves. 
Such  an  interior  was  not  suited  to  domestic 
purposes,  an  opinion  also  supported  by  the 
wealth  of  exterior  ornamentation  and  the  ab- 
sence of  sooty  incrustations.  These  vessels 
were  valued  for  esthetic  and  symbolic  reasons 
and  not  for  their  storage  capacity  or  as  utensils. 
The  making  of  narrow-necked  vessels  in  two 
or  more  parts  has  been  reported  from  Peru. 
Dr.  Davis  exhibited  specimens  of  this  sort  at  a  meeting  of  the  American  Ethnological 
Society.1  December  15,  1859.  One  of  these  "  of  spherical  form  had  separated 
itself  into  two  hemispherical  halves,  by  an  even,  horizontal  fracture." 

Sometimes  but  a  single  ground  color  is  employed,  either  a  pronounced  red 
pigment  or  a  light  to  salmon-colored  slip.  Frequently  the  two  ground  tints 
appear  in  pleasing  combination,  the  lower  half  of  the  body,  for  example,  being  in 
red,  the  upper  half  light,  and  the  neck  red.  Again  the  red  is  the  true  ground, 
on  or  in  which  appear  bands  or  fields  of  white ;  or  the  ground  may  be  white  and 
marked  by  bands  of  red.  The  upper  light  zone  is  frequently  crossed  by  bands 
of  red  tangent  to  the  neck.  But  whatever  the  combination,  the  red  and  the  light 
are  each  and  both  only  the  ground  on  which  the  artist  works  out  his  design. 
This  brings  us  to  the  secret  of  the  lost  color  process. 
1  Hist,  mag.,  IV,  48. 


179. —Narrow-necked  vase  broken  in 
plane  of  greatest  diameter,  illustrating  care- 
lessness in  finish  of  interior.  Lost  color 
ware.  '/' 


THE  LOST  COLOR  GROUP.  105 

The  secret  was  unknown  to  Holmes  when  he  so  aptly  named  the  group.  He 
supposed  that  "  the  actual  patterns,  so  varied  and  interesting,  were  worked  out 
in  a  pigment  or  fluid  now  totally  lost,  but  which  has  left  traces  of  its  former 
existence  through  its  effect  upon  the  ground  colors.  In  beginning  the  decoration, 
a  thin  black  color,  probably  of  vegetal  character,  was  carried  over  the  area  to.  be 
treated,  and  upon  this  the  figures  were  traced  in  the  lost  color.  When  this  color 
(if  it  was  indeed  a  pigment,  and  not  merely  an  acid  or  'taking  out'  medium) 
disappeared,  it  carried  with  it  the  black  tint  beneath,  exposing  the  light  gray  and 
red  tints  of  the  ground  and  leaving  the  interstices  in  black.  The  interstitial 
figures  thus  formed  are  often  of  such  a  character  as  to  be  taken  for  the  true 
design.  In  examining  the  decoration  of  this  ware,  it  is  essential  that  this  fact 
should  be  kept  in  mind,  as  otherwise  great  confusion  will  result." 

Holmes  declared  that  the  nature  of  the  materials  employed  could  not  be  de- 
termined. The  foregoing  quotation  is  given  to  show  what  a  really  good  guess 
Holmes  made.  His  errors  were  only  two.  The  black  was  not  applied  before  the 
'  taking  out '  medium,  and  his  so-called  '  taking  out '  medium  was  neither  a  pigment 
nor  an  acid. 

While  on  an  expedition  to  Central  America  in  1896  and  1897,  Professor  C.  V. 
Hartman l  visited  the  Aztec  village  of  Izalco,  Salvador.  There  he  was  able  to 
observe  a  method  of  ornamenting  calabash  vessels  by  means  of  what  has  been 
called  •'  negative  painting."  The  work  is  done  by  women  only.  The  shell  is 
opened  with  a  knife  and  the  seeds  and  soft  interior  removed.  The  skin  is  taken 
off  by  means  of  a  bivalve  (Area)  shell.  When  sufficiently  dry,  the  outer  surface 
is  decorated  in  the  following  manner :  The  designs  are  traced  with  a  small  paint 
brush,  the  medium  being  beeswax  blackened  by  smoke  and  kept  in  a  fluid  con- 
dition by  heating  in  a  clay  vessel  over  a  charcoal  fire.  The  second  step  begins 
with  the  preparation  of  a  black  adhesive  solution,  consisting  of  sugar  or  honey, 
powdered  charcoal  and  the  pod  of  a  leguminous  plant  (Papilionaceae).  The  mix- 
ture is  placed  in  a  large  earthen  vessel  and  allowed  to  boil  over  a  fire.  Its 
adhesiveness  comes  from  the  sugar,  its  color  from  the  charcoal,  and  the  pulverized 
pods  give  the  varnish-like  finish.  The  solution  is  rubbed  on  the  outer  surface  of 
the  calabash  vessel  with  a  rag  and  left  to  dry.  The  vessel  is  finally  immersed  in 
a  bath  of  hot  water,  which  melts  the  wax  and  removes  with  it  the  color  from  the 
waxed  portions,  leaving  the  pattern  in  the  color  of  the  original  ground.  The  hot 
water  does  not  injure  in  the  slightest  the  black  that  remains ;  so  that  instead  of 
a  white  vessel  with  dark  ornamentation  there  results  a  black  surface  with  designs 
in  white.2 

What  explanation  could  be  more  simple,  effective  and  plausible?  The  so-called 
'taking  out'  medium  used  by  the  ancient  Chiriquian  was  therefore  evidently  wax, 
and  it  was  applied  before  instead  of  after  the  coating  of  black,  portions  of  which 

1  Die  Baumkalabasse  im  tropischen  Amerika.  Boas  anniversary  volume,  1906.  New  era 
printing  company,  Lancaster,  Pa. 

*  Professor  Pittier,  who  quite  recently  visited  Salvador  and  bought  various  calabash 
vessels  at  Izalco,  states  that  the  ancient  negative  method  of  decorating  is  no  longer  practised 
there.  (Note  to  Professor  Hartman.) 

MEMOIRS  CONN.  ACAD.,  Vol.  III.  14 


106 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


it  removed  on  being  heated,  leaving  the  desired  pattern  in  the  ground  color  and 
the  interstices  in  black :  the  latter  is  therefore  not  a  true  delineating  color.  The 
name  lost  color,  however,  is  still  as  appropriate  as  it  was  when  first  given  to  the 
group  more  than  twenty  years  ago.  Hartman  and  others  call  it  "  negative  paint- 
ing." The  same  process  was  known  to  the  ancient  inhabitants  of  Ecuador,  Pro- 
fessor M.  H.  Saville  having  found  some  fine  examples  of  it  around  Rio  Bamba. 
It  also  occurs  in  northern  Ecuador  and  southern  Colombia.  I  have  just  discovered 
in  the  Keith  Collection  of  ancient  pottery  from  Mercedes,  Costa  Rica,  a  vase 
painted  in  this  manner.  Hartman  cites  recent  examples  from  Guatemala,  and  it 
is  also  met  with  in  the  native  art  of  Java  and  Hawaii. 

Much  of  the  richness  in  contrast  between  the  black  interspaces  and  the  patterns 
in  the  original  ground  colors  is  lost,  owing  to  the  ease  with  which  the  black  rubs 
off.  When  new,  the  ware  must  have  been  highly  effective.  So  much  of  the  black 
pigment  has  disappeared  through  usage  before  burial,  and  especially  from  long 
contact  with  the  earth  in  a  region  of  relatively  great  rainfall,  that  the  original 
ground  colors  show  everywhere  through  the  black,  and  in  many  places  the  pattern 
is  completely  lost  because  of  the  absence  of  the  black. 

Beginning  with  examples  in 
which  the  entire  original  ground 
is  red,  a  vase  from  Divala  with 
linear  decorations  is  reproduced 
in  Plate  XXVII  (fig.  a).  It  took 
a  high  degree  of  skill  to  arrive 
at  such  perfect  proportions  as 
are  here  exhibited.  The  pattern 
was  first  laid  down  in  wax  over 
the  red,  the  entire  outer  surface 
then  being  coated  with  black. 
After  the  vessel  was  passed 
through  the  hot-water  bath,  the 
pattern  appeared  in  the  red  of 
the  original  ground ;  what  is 
left  of  the  black  on  the  inter- 
spaces becomes  what  might  be 
called  the  final  ground,  and  what 
was  originally  the  ground  takes 
the  place  of  the  delineating  color. 
The  framework  of  the  pattern 
consists  of  two  horizontal  bands, 
one  broad  and  one  narrow,  just  below  the  greatest  circumference  of  the  body, 
together  with  two  sets  of  similar  bands  tangent  to  the  neck  on  either  side  and 
in  nearly  vertical  planes.  These  divide  the  upper  zone  into  two  arched  panels 
and  two  alternating  upright  panels.  Two  bands  in  a  vertical  plane  mark  each 
upright  panel.  The  outer  surface  of  the  neck  is  marked  by  bands  in  a  similar 
sense,  while  the  lip  and  inner  surface  of  the  orifice  are  left  in  the  original  ground 
tint.  The  arched  panels  are  filled  in  with  groups  of  parallel  bands  that  form  a 


Fig.  180.— Vase  in  red   and   black   with  large   aperture,   and  two 
arched  panels  on  shoulder.     Lost  color  ware.     '/» 


THE  LOST  COLOR  GROUP.  107 

sort  of  compressed  or  faulted  meander.  The  lower  zone  is  in  black  except  for 
four  groups  of  radiating  bands  passing  from  the  lower  horizontal  band  down 
about  half-way  to  a  median  point  on  the  bottom.  This  is  a  favorite  treatment 
for  the  lower  zone. 

The  modeling  in  figure  180  is  much  inferior  to  that  of  the  preceding  and  the 
aperture  is  unusually  large  for  this  group  of  ware.  The  lip  is  red  and  recurved 
(the  pattern  seldom  encroaches  on  the  lip  and  never  on  the  inner  surface  of  the 
aperture).  There  is  a  similar  framework  of  horizontal  peripheral  bands  dividing 
the,  body  into  an  upper  and  a  lower  zone,  and  of  bands  tangent  to  the  neck  on 
either  side,  dividing  the  upper  zone  into  four  pauels,  two  being  arched  and  two 
upright.  The  decoration  of  the  upright  panels  is  more  felicitous  than  it  was  in 
the  colored  figure  a.  In  both  instances,  the  endeavor  was  to  break  up  the  broad 
expanse  of  black.  Here,  on  the  side  turned  toward  the  observer,  it  is  very 
successfully  done  by  a  plantlike  form  with  two  pairs  of  lateral  fronds.  The 
opposite  panel  is  treated  differently.  There  is  once  more  the  faulted  meander 
filling  the  arched  panels.  The  treatment  of  the  lower  zone  is  characteristic  for 
the  group. 

Other  examples  of  vases  with  solid  red  ground  and  linear  ornaments  are  given 
in  Plate  XXVIII.  The  same  method  of  treatment  is  repeated  in  figure  a,  except 
that  the  two  main  panels  of  the  upper  zone  are  quadrangular  instead  of  arched, 
and  the  faulted  meander  is  cut  in  two  by  a  series  of  vertical  bands.  The  upright 
panels  being  narrow  are  not  decorated.  The  neck  is  ornamented  with  vertical 
bands  that  encroach  on  the  lip.  The  frequently  employed  framework  of  horizontal 
peripheral  bands  and  others  tangent  to  the  neck  on  two  opposing  sides  is  found  in 
figure  b.  The  arched  panels  thus  formed  are  ornamented  in  a  singularly  pleasing, 
happy-go-lucky  fashion.  Bands  arranged  in  groups  of  two  or  singly  meet  at  various 
angles  and  the  angular  black  interstices,  when  large  enough,  are  marked  by  one  or 
several  spots,  some  of  which  are  set  in  small  circles  or  rudely  triangular  spaces. 
The  lower  zone  is  decorated  with  eight  series  of  bands  in  alternating  groups  of 
two  and  three,  converging  toward  the  bottom. 

The  straight-line  or  banded  motive  is  continued  in  figure  e,  but  the  effect  is 
wholly  different.  There  is  the  same  separation  of  the  body  into  two  zones  by 
two  horizontal  peripheral  bands.  The  decoration  of  the  upper  zone  consists  of 
ten  groups  of  lines  or  narrow  bands  (the  red,  not  the  black)  radiating  from  the 
neck  and  alternating  with  triangular  spaces.  The  upper  part  of  the  lower  zone 
is  marked  by  seven  horizontal  bands  and  a  single  horizontal  series  of  narrow 
elongated  quadrangular  panels,  each  enclosing  a  single  row  of  spots.  The  lower 
part  or  bottom  is  left  in  black,  as  is  also  the  outer  surface  of  the  neck.  The  ab- 
sence here  of  visible  fields  in  black  might  easily  lead  one  to  mistake  the  black 
linear  interspaces  for  the  real  pattern,  the  radiating  triangular  spaces  in  the  color 
of  the  original  ground  tending  to  strengthen  the  deception ;  but  the  black  is 
never  a  true  delineating  color  in  the  lost  color  group.  The  polisher  used  on 
this  vase  being  rather  coarse,  the  method  of  using  it  can  be  easily  detected.  The 
strokes  were  in  straight  lines.  Those  on  the  upper  zone  were  tangent  to  the 
neck  and  on  four  sides,  the  stria?  on  opposite  sides  being  roughly  parallel  to 
each  other.  The  striae  on  the  bottom  are  all  in  one  direction,  as  if  the  position 


108  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

of  the  vessel  relative  to  the  workman  had  not  been  changed  throughout  the 
process.  It  is  worth  while  to  note  also  that  the  polishing  seems  to  have  been 
done  after  the  application  of  the  final  coat  of  paint  (black),  as  the  paint  has 
disappeared  along  the  lines  of  the  striae.  Such,  however,  was  not  the  sequence 
of  events.  On  closer  observation  the  black  paint  is  found  to  have  been  removed 
from  the  ridges  of  the  striae  and  not  from  the  intervening  grooves ;  while  the 
underlying  red  paint  has  not  been  worn  even  from  the  ridges.  The  wearing  of 
the  black  paint  from  the  ridges  is  therefore  due  to  its  exposed  position  and  the 
non-adhesive  character  of  the  coloring  matter  employed. 

With  but  slight  variations,  what  has  been  said  of  the  preceding  is  also  true 
of  figure  rf,  except  that,  in  place  of  the  series  of  elongated  dotted  panels  on  the 
lower  zone,  there  is  a  horizontal  band  of  triangles  with  apices  pointing  upward, 
alternating,  of  course,  with  triangular  black  interspaces.  The  upper  zone  is  rather 
sharply  depressed,  giving  to  the  vase  angular  outlines. 

An  especially  pleasing  arrangement  of  groups  of  parallel  bands,  meeting  each 
other  at  various  angles  with  a  variety  of  intervening  triangles,  quadrangles  and 
pentagons,  is  given  in  figure  e.  One  band  never  cuts  another.  When  two  groups 
meet,  one  disappears  beneath  the  other.  At  one  place  four  groups  of  bands  meet 
and  there  is  the  same  orderly  overlapping.  Three  narrow  bands  are  carried  round 
the  shoulder  just  below  the  neck.  The  latter  is  short,  with  vertical  sides,  while 
flaring  necks  are  usual  for  this  group  of  ware.  The  entire  lower  zone  is  left  in 
the  original  red  ground  tint.  Here  again  one  might  easily  take  the  black  bands 
to  be  the  pattern  against  a  background  of  angular  fields  in  red.  This  vase  is 
from  Divala. 

The  upper  zone  in  figure  /  is  traversed  by  a  meandering  group  of  narrow 
parallel  bands,  the  four  lower  corners  of  the  meander  being  cut  by  a  group  of 
narrow  horizontal  peripheral  bands.  With  the  exception  of  a  single  horizontal 
band  near  its  upper  margin,  the  lower  zone  is  left  in  the  original  ground  color. 
The.  lip  is  flaring  and  rectangular  in  outline,  there  being  but  two  other  examples 
of  this  type  of  lip  in  the  lost  color  group. 

In  Plate  XXIX  are  shown  some  specimens  with  handles  and  some  with  orna- 
ments in  relief.  The  original  ground  color  is  red.  The  handles  in  figure  a  are 
small  vertical  loops,  with  black  and  red  cross  bands.  The  collar  from  which 
they  spring  to  meet  the  prolonged  lip  on  either  side  is  decorated  with  groups  of 
narrow  parallel  bands,  forming  a  broken  meander.  The  remainder  of  the  upper 
zone  of  the  body  is  marked  by  horizontal  bands  and  panels,  each  panel  with  a 
row  of  spots  in  a  rectangular  field.  The  lower  zone  is  left  in  red. 

The  type  of  neck  is  somewhat  different  in  figure  6,  and  the  lip  is  recurved, 
but  the  cross-banded  handles  are  practically  the  same  as  in  the  preceding.  The 
pattern  is  confined  to  the  upper  half  of  the  body  and  consists  of  four  triangles 
with  the  rather  large  intervening  black  spaces  relieved  by  groups  of  lines  forming 
compound  and  simple  curves.  The  hollow  of  each  curve  in  the  sigmoid  scroll 
as  well  as  the  simple  curve  is  marked  by  a  spot.  This  spot  represents  the  body- 
markings  of  the  alligator.  The  sigmoid  scroll  is  therefore  composed  of  two 
alligator  bodies  linked  together,  while  the  simple  scroll  on  the  right  is  the  body- 
line  of  a  single  alligator.  This  is  one  of  the  two  predominant  alligator  motives 


THE  LOST  COLOR  GROUP.  109 

so  well  exemplified  in  the  alligator  and  the  polychrome  ware  (see  PI.  XL,  fig.  /; 
and  text-fig.  256).  Its  occurrence  in  the  lost  color  group  is  one  of  the  many 
links  that  bind  the  ceramic  art  of  Chiriqui  into  one  consistent  whole. 

The  narrow  neck  of  a  bottle-shaped  vase  from  Divala  (fig.  c)  was  never  polished 
and  is  surrounded  by  a  series  of  eye  ornaments  in  relief.  The  contact  between 
the  upper  and  lower  zone  is  slightly  angular.  Groups  of  radiating  bands  with 
intervening  triangles  mark  the  upper  half.  Some  of  the  broader  black  interspaces 
are  relieved  by  rows  of  spots.  With  the  exception  of  a  small  round  area  on  the 
bottom,  which  is  in  solid  black,  horizontal  bands  and  panels  completely  cover 
the  lower  zone. 

Reference  has  already  been  made  to  the  lack  of  adhesiveness  in  the  final  coating 
of  black  paint,  which  is  supposed  to  be  of  a  vegetal  nature.  Nowhere  is  it  com- 
pletely preserved.  In  many  cases  very  little  remains ;  in  others  it  has  disappeared 
entirely. 

In  figure  d,  a  specimen  from  Divala,  only  the  upper  half  received  the  wax 
treatment.  Above  the  three  horizontal  equatorial  bands,  a  diamond-shaped  panel 
is  repeated  six  times.  In  each  panel  are  series  of  parallel  bands  meeting  at  an 
angle  and  grouped  around  a  central  cross,  the  motive  being  similar  to  that  on 
the  inner  surface  of  an  open  shallow  bowl  of  the  red  line  group. 

A  wide-mouthed  vase  with  recurved  lip  is  reproduced  in  figure  e.  The  pattern 
is  confined  to  the  upper  half  of  the  body,  the  final  coating  of  black  encroaching 
but  a  short  distance  on  the  lower  red  zone,  which  is  separated  from  the  upper 
bv  horizontal  bands.  Similar  bands  are  carried  around  the  shoulder  just  below 
the  neck.  The  three  series  of  vertical  bands  accompanied  by  marginal  serrations 
are  motives  derived  from  the  dorsal  aspect  of  the  alligator.  These  bands  alone  may 
be  looked  upon  also  as  completing  the  formation  of  three  quadrangular  panels, 
all  being  treated  in  the  same  way —  a  nest  of  triangles  in  the  center,  with  the 
remaining  space  covered  by  a  triangular  piece-work  of  red  and  black. 

Thus  far  the  body  of  the  vessels  of  this  group  has  always  been  divided  into 
an  upper  and  lower  zone.  A  distinct  departure  is  taken  in  figure  /.  Under  the 
recurved  lip  there  is  a  pronounced  collar,  with  a  life  form  in  relief  —  a  prominent 
beaklike  nose,  eyes  set  wide  apart,  and  a  tail  opposite  the  nose.  The  framework 
of  the  design  on  the  body  consists  of  three  series  of  longitudinal  bands.  Each 
of  the  three  panels  thus  formed  is  subdivided  into  three  panels  by  two  groups  of 
horizontal  bands.  These  panels  are  all  traversed  by  faulted  meanders.  The  wider 
of  the  intervening  black  bands  are  generally  marked  by  a  single  row  of  spots 
in  the  color  of  the  original  ground.  This  style  of  ornament  recalls  the  serpent 
motive,  which  characterizes  the  group  by  that  name. 

One  of  the  vases  with  original  ground  of  red  (fig.  181)  had  seen  much  service, 
the  recurved  lip  having  disappeared  piecemeal.  The  broken  surfaces  are  aged 
and  smoked  and  the  tone  of  the  entire  red  ground  is  deepened.  On  opposite 
sides  of  the  body  are  life  forms  in  low  relief.  Alternating  with  these  on  the 
upper  zone  are  two  four-sided  panels,  each  filled  by  a  painted  design  that  retains 
only  slight  traces  of  a  life  form.  The  elements  of  the  design  are  the  same  on 
either  side,  but  the  combination  of  these  elements  is  such  as  to  produce  two 
somewhat  different  results.  The  motive  resembles  one  that  reappears  on  a  number 


110 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


of  vases  (see  PI.  XLII).     There  are   also  in  this  group  several  small  red  bottles, 
the  ornaments  on  which  consist  of  plain  and  scalloped  horizontal  bands. 

As  a  rule,  in  vessels  of  the  lost  color  ware,  the  original  ground  consists  of 
two  colors  —  red  and  a  light  cream  color  that  in  rare  cases  is  replaced  by  salmon. 
The  two  ground  colors  are  usually  applied  in  zones,  figure  b  (PI.  XXVII)  being 
a  good  example,  reproduced  in  color.  The  wide  neck  and  bottom  are  red.  The 
middle  zone  is  a  rich  cream  color,  which  is  now  visible  only  as  the  pattern  on 
an  ultimate  field  of  black.  Between  the  two  bands  about  the  neck  and  the  two 
peripheral  bands  (the  lower  one  of  which  is  in  the  red  zone)  is  a  row  of  ten 
monkey-like  figures,  all  facing  the  same  way  and  in  precisely  the  same  attitude. 
Each  is  a  conventionalized  view  in  absolute  profile,  of  a  monkey  sitting  bolt 


Fig.  181. — Vase  in  red  and  black  with  narrow  aperture, 
showing  life  forms  in  low  relief  alternating  with 
two  panel  decorations.  Lost  color  ware.  '/> 


Fig.  182. — Vase  in  red,  light  cream,  and  black,  the 
three  panels  of  the  shoulder  zone  being  decorated 
with  alligator  motives.  Lost  color  ware,  '/i 


upright,  its  long  erect  tail  reaching  as  high  as  the  head  and  recurved  at  the 
tip.  Both  eyes  are  represented  on  the  side  toward  the  observer,  but  no  attempt 
is  made  to  show  more  than  two  of  the  four  feet.  These  are  conspicuously  large 
and  two-toed,  the  only  exception  being  those  of  the  tenth  monkey,  which  is 
restricted  to  a  smaller  space  than  the  others.  The  feet  here  are  not  spread, 
the  body  is  more  slender,  and  the  eyes  are  placed  in  a  vertical  row  instead  of 
horizontally.  The  whole  effect  is  such  as  to  reveal  in  a  striking  way  the  methods 
employed  in  the  lost  color  process.  A  tripod  of  this  group  is  decorated  with  a 
similar  monkey  design.  It  should  be  recalled  that  long-tailed  monkeys  abound 
in  the  American  tropics,  the  Capuchin  monkeys  (Cebus)  being  the  most  numerous. 
Other  genera  represented  are:  Mycetes,  Ateles  and  Nyctipithecus. 

The  same  disposition  of  the  two  ground  colors  is  seen  in  figure  182,  where 
the  three  panels  of  the  cream  zone  are  filled  with  highly  conventionalized  life 
motives  attached  to  the  banded  framework  of  the  design  and  sharply  recurved  at 
the  free  end.  The  first  figure  in  each  row  is  attached  to  the  band  above,  as  is 
the  attachment  of  every  alternate  figure  to  the  band  below.  Each  is  accompanied 


THE  LOST  COLOR  GROUP.  Ill 

by  one  or  two  rows  of  dots.  The  design  is  referable  to  the  spines  and  scales 
of  the  alligator.  The  width  of  the  panels  being  greater  than  that  of  the  light 
upper  zone,  the  lower  part  of  the  design  in  each  appears  in  the  red  ground  of 
the  lower  zone. 

In  figure  183  very  little  black  is  used,  just  enough  to  serve  as  a  setting  for 
the  design.  It  is,  in  fact,  one  of  the  few  examples  in  which  the  black  becomes 
a  component  part  of  the  design  in  two  colors  —  black  and  light  on  a  light  ground. 
The  same  may  be  said  of  the  black  and  red  designs  on  a  red  ground  (see 
PL  XXIX,  fig.  d).  It  is  not  a  perfect  example,  however,  for  the  black  frame- 
work of  the  design  is  fused  with  the  solid  coat 
of  black  on  the  neck.  Two  series  of  gracefully 
curving  bands,  some  continuous  and  some  broken, 
with  a  horizontal  connection  at  their  bases,  form 
a  bilaterally  symmetrical  figure  that  covers  almost 
half  the  upper  zone.  This  is  repeated  on  the  op- 
posite side. 

The  original  ground  colors  of  the  series  brought 
together  in  Plate  XXX  are  also  light  above  and  red 
below.  Figure  a  presents  what  might  be  considered 
the  vestiges  of  a  square  lip.  The  otherwise 
circular  margin  of  the  rim  is  interrupted  at  four  Fig  l83._vase  in  red,  light  cream  and 

points    by    Slight    prominences,    tWO    of  which    have  black,    ornamented    with     bilaterally 

~-       T-.    •     .     i  symmetrical      figures     each     covering 

been  broken  off.     Painted  eye  ornaments  surround         a'bout  half  of  Je  uppcr  zone     Los6t 
the  neck,  and  the  shoulder  is  adorned  by  two  panels         color  ware.    V» 
with  a  design  of  plain  and  scalloped  horizontal  bands. 

Life  forms  in  relief  are  comparatively  rare  in  the  lost  color  group.  They 
usually  consist  of  an  animal  head  projecting  from  the  body  of  the  vase  on  one 
side  and  a  tail  on  the  other.  Beyond  this  the  globular  form  of  the  body  is  not 
interfered  with.  In  figure  £>,  two  heads  appear  on  one  side  and  a  single  tail  on 
the  other.  The  heads  are  alike  and  reptilian  in  character,  with  eyes  represented 
in  color.  The  tail  was  cut  off  short  in  a  vertical  plane  that  is  not  at  right  angles 
to  the  axis  of  the  common  body.  The  two  panels  that  reach  laterally  from  head 
to  tail  may  be  intended  to  supplement  the  representation  in  relief,  thus  completing 
the  connection  between  the  double  head  and  the  tail. 

The  animal  head  and  tail  in  the  round  on  the  shoulder  of  the  vase  reproduced 
in  figure  c  are  those  of  the  racoon.  Although  the  head  is  conventionalized, 
there  is  no  mistaking  the  genus  in  the  aspect  of  the  pointed  nose  and  the  position 
of  the  eyes.  The  latter  are  represented  both  in  the  round  and  in  color.  The 
tail  is  cross-banded  but  much  shortened  to  avoid  breaking.  The  well-known 
Procyon  lotor  does  not  range  farther  south  than  Costa  Rica.  Procyon  cancrivorus, 
a  crab-eating  racoon,  that  belongs  in  Colombia  and  Guiana,  is  also  found  as 
far  north  as  Chiriqui  and  is  probably  the  species  here  represented.  Quadrangular 
panels  decorated  with  dorsal-view  (alligator)  motives,  some  of  them  incomplete, 
reach  from  head  to  tail  on  either  side.  A  series  of  eye  ornaments  surrounds  the 
neck  of  the  vase. 

The    design    in    figure  d    consists    of  radiating    lines    enclosing  rows   of  spots. 


112  A  STUDY  OF  CH1RIQUIAN  ANTIQUITIES. 

These  bands  are  repeated  in  groups  of  two ;  triangular  spaces  alternating  with 
each  group.  This  recalls  the  prevailing  motive  in  the  serpent  ware.  In  figure  e 
a  similar  serpent  motive  is  also  seen  decorating  the  arched  panels  as  well  as  the 
alternating  fields. 

The  cream  zone  in  figure  /  does  not  reach  quite  to  the  neck.  Above  and 
below  this  ornamented  zone  the  ground  is  red.  A  single  vertical  handle  unites 
rim  and  shoulder.  Meeting  the  latter  at  a  point  within  the  light  area,  it  is  also 
light  instead  of  red.  Of  the  four  panels  formed  by  series  of  vertical  lines,  two 
are  narrow  and  two  wide.  The  decorative  motive  for  the  latter  is  in  the  shape 
of  a  labret  or  spool.  It  is  distributed  in  such  a  way  as  to  make  both  horizontal 
and  vertical  rows.  There  is  a  certain  system  in  the  irregularity  of  the  everywhere 
connecting  black  interstices,  that  causes  the  eye  to  be  fixed  upon  them  rather 
than  upon  the  rows  of  labret-shaped  figures  forming  the  real  design.  The  figure 
in  the  upper  left-hand  corner  of  one  of  the  panels  is  just  half  the  size  of  the 
others,  the  space  left  over  when  finishing  the  decoration  being  too  small  to 
accommodate  one  of  the  regular  size,  and  too  large  to  be  left  unbroken.  A  like 
attempt  to  utilize  the  left-over  space  occurs  on  the  opposite  panel,  where  half  the 
motive  is  employed  instead  of  a  whole  one  reduced  in  size  (see  also  fig.  196).  The 
spool  or  labret  ornament  is  found  on  other  vases,  sometimes  being  the  center 
toward  which  radiating  bands  converge  (see  fig.  195). 

Thus  far  the  oft-recurring  framework  of  bands,  peripheral  as  well  as  tangent 
to  the  neck  on  either  side,  has  been  in  the  color  of  the  original  through  which 
they  pass.  Where  the  whole  ground  was  red  these  bands  were  red  also  (Pis.  XXVII 
and  XXVIII),  and  where  the  upper  half  was  light  the  bands  cutting  it  tangent  to 
the  neck  were  light  (PI.  XXX).  In  Plate  XLII  (fig.  a)  all  the  original  ground  is 
red  with  the  exception  of  the  peripheral  band  and  those  tangent  to  the  neck, 
which  are  white.  They  were  painted  on  first;  then  the  bottom  and  the  upper 
panels  were  colored  red ;  finally  came  the  waxing  process  and  the  coat  of  black, 
which  was  eventually  removed  from  the  design  by  melting  the  wax.  This  specimen 
is  from  Divala,  and  is  not  only  beautifully  modeled  and  painted  but  also  one  of 
the  best  preserved  of  the  entire  group. 

The  outline  is  softly  angular,  due  to  the  sloping  shoulders  and  slightly  pointed 
bottom.  The  equatorial  band  cuts  the  body  into  two  almost  identical  halves,  the 
upper  being  surmounted  by  a  narrow  neck  and  projecting  but  well-formed  lip. 
The  framework  of  bands  is  a  thick  white  paste  that  has  received  a  high  polish. 
The  red  field  encroaches  somewhat  on  the  margins  of  the  bands,  and  the  black, 
the  last  to  be  applied,  narrows  them  still  more.  The  lower  half  of  the  vessel  is 
in  two  zones,  the  nether  of  red  and  the  upper  of  black,  with  groups  of  narrow 
longitudinal  bands.  The  neck  and  lip  are  also  banded.  Of  the  four  panels 
surrounding  the  neck,  the  vertical  ones  are  decorated  with  triangles.  The  design 
on  the  arched  panels,  alike  on  both  sides,  may  or  may  not  be  construed  as  a 
life  form.  The  diamond-shaped  center  may  represent  the  body,  and  the  six 
appendages,  the  head,  tail  and  legs.  These  are  all  composed  of  the  same  ele- 
ments —  a  short  straight  band  accompanied  by  two  longer  curving  parallel  bands. 
The  four  short  appendages  are  attached  to  the  center  of  the  four  sides  of  the 
square  ;  the  two  long  ones,  at  opposite  corners.  The  whole  is  a  piece  of  decorative 


THE  LOST  COLOR  GROUP. 


113 


work  admirably  conceived  and  adapted  to  the  space  at  the  artist's  disposal.  The 
design  may  have  no  significance  other  than  this. 

Sometimes  the  horizontal  band  is  placed  much  below  the  plane  of  the  greatest 
horizontal  diameter  of  the  vase,  as  in  figure  184.  The  long  vertical  panels  are 
decorated  with  a  serpentine  design.  The  design  on  the  relatively  large  arched 
panels  is  made  up  of  a  different  arrangement  of  the  same  elements  —  narrow  bands 
and  rows  of  spots.  Groups  of  these  cross  at  varying  angles,  producing  an  effective 
bit  of  decoration.  The  lip  is  delicately  modeled. 

The  vase  reproduced  in  figure  185  is  exceptional  from  several  points  of  view. 
The  equatorial  band  and  the  two  tangent  to  the  «eck  are  simply  those  parts  of 
the  cream-colored  slip  not  covered  by  the  red,  instead  of  the  thick  white  paste 
employed  in  delineating  the  fundamental  bands  of  the  preceding  figures.  In  the 
latter  also  these  were  retraced  in  wax,  so  that  the  ultimate  design  never  crossed 


Fig.  184 — Vase  in  which  the  peripheral 
band  and  those  tangent  to  the  neck 
are  painted  white.  Lost  color  ware.  '/> 


Fig.  185. — Vase  in  which  the  peripheral  band 
and  those  tangent  to  the  neck  are  painted 
white  and  are  crossed  by  the  lost  color 
pattern.  Lost  color  ware.  'I' 


them,  but  was  limited  to  the  panels  and  the  lower  half  of  the  body.  Here, 
however,  the  design  is  absolutely  independent  of  the  white  bands  crossing  and 
recrossing  them  in  every  direction.  The  foundation  of  the  intricate  design  seems 
to  be  a  series  of  parallel  bands  carried  in  waves  about  the  body  of  the  vessel, 
rising  almost  to  the  neck  three  times  and  as  many  times  dropping  a  little  below 
the  light  equatorial  band.  Above  and  below  these  waves  are  loops,  cross  bands, 
spots,  circles,  triangles,  etc.  The  bottom  was  discolored  (black)  in  the  process 
of  firing. 

There  is  still  another  series  of  vases  in  which  the  peripheral  bands  and  those 
tangent  to  the  neck  are  red  on  a  light  ground,  as  illustrated  in  Plate  XLII  (fig.  6). 
The  upper  light  zone  is  crossed  by  two  red  bands  tangent  to  the  neck.  The 
bottom,  lip  and  inner  surface  of  the  orifice  are  also  red.  The  neck  is  ornamented 
with  a  series  of  composite  eye  ornaments.  The  vertical  panels  are  marked  by 
bands  and  by  small  triangular  and  oval  to  circular  spotted  fields.  A  disjointed 
meander  traverses  each  arched  panel. 

MEMOIRS  CONN.  ACAD  ,  Vol.  III.  15 


114 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


In  figure  186  the  red  bands  rise  vertically  from  the  lower  zone,  cross  the  light 
upper  zone  and  fuse  with  a  red  band  that  encircles  the  short  neck.  Four-sided 
panels,  four  in  number,  are  thus  produced.  The  details  of  the  decoration  on  each 
cannot  be  determined,  owing  to  the  almost  complete  loss  of  the  black  paint. 

A  new  element  entering  into  the  technique  of  the  decorator  is  shown  in  figure 
187.  The  light  zone  in  the  color  of  the  slip  includes  the  neck,  and  is  considerably 
larger  than  the  red  zone  below.  It  is  separated  into  two  panels  by  vertical 
bands  in  the  color  of  the  slip  instead  of  in  red,  while  the  red  is  used  as  a  true 
delineating  color  on  each  panel.  Having  been  polished  down  before  the  paint 


Fig.  186. — Vase  ornamented  with  four  four-sided  panels. 
Lost  color  ware.     '/> 


Fig.  187. — Globular  vase  ornamented  with  a  design 
suggesting  a  conventionalized  alligator.  Lost  color 
ware.  '/> 


was  thoroughly  dry,  the  outlines  are  blurred  in  places  and  some  of  the  red  has 
been  carried  out  onto  the  light  ground.  The  design,  suggesting  a  conventionalized 
alligator,  was  never  wholly  finished  in  red  and  is  not  quite  the  same  on  the  two 
sides.  When  being  retraced  in  wax,  the  missing  parts  were  added  and  now 
appear  in  the  light  ground  color.  The  whole  figure  was  surrounded  by  a  narrow 
band  (in  light)  now  partially  effaced  in  places  from  exposure  or  handling.  The 
black  interspacial  areas  are  reduced  in  size  by  dashes  of  the  brush  that  left  light 
bands  of  varying  lengths. 

There  are  four  distinct  zones  on  the  globular  vase  shown  in  figure  188 ;  a  red 
zone  reaching  from  the  rim  almost  half-way  to  the  plane  of  greatest  diameter,  a 
rather  broad  light  zone,  a  narrow  red  zone  representing  also  the  peripheral  band, 
and  the  bottom  light  again.  The  broad  light  zone  (now  black  except  the  design) 
is  decorated  with  the  labret-  or  spool-shaped  motive  already  mentioned  in  con- 
nection with  Plate  XXX  (fig.  /).  The  artist  repeated  the  motive  in  a  horizontal 
series  by  adapting  the  size  and  number  of  figures  to  the  space  at  hand.  The 
result  is  that  the  last  one  to  be  made  is  considerably  reduced  in  size.  The  narrow 
red  zone  below  is  ornamented  with  a  row  of  lozenge-shaped  figures. 


THE  LOST  COLOR  GROUP. 


115 


The  tendency  to  break  up  light  surfaces  with  bands  of  red  is  well  illustrated 
in  figure  189,  representing  a  wide-mouthed  vase.  The  ground  of  the  principal 
zone  is  light.  The  red  ground  of  the  bottom  invades  the  light  upper  zone  at 
four  points,  each  ascending  tongue,  forming  the  center  of  a  design  in  the  color 
of  the  light  ground,  is  composed  of  two  looped  bands,  the  outer  margin  of  the 
outer  one  being  scalloped. 


Fig.   189. 


Fig.  190. 


Fig.  191. 


I'ic;.  1 88. — Globular  vase  decorated  with  the  spool-shaped  motive.     Lost  color  ware.      '/> 

Fig.  189. — Wide-mouthed  vase.     Lost  color  ware.     '/> 

I' it;-  190.  — Small  vase  with  rosette-like  ornamentation.     Lost  color  ware.     '/» 

Fig.  191.  —  Compound  vase  decorated  with  three  quadrangular  panels  in  each  story.     Lost  color  ware.     */» 

There  is  only  one  equatorial  band  of  red  on  the  vase  represented  in  figure  190. 
The  bands  tangent  to  the  neck  on  two  sides,  so  frequently  met  with,  are  here 
continuous,  forming  a  vertical  circle.  The  radiate  ornament  is  repeated  below 
the  equatorial  band,  so  that  the  complete  design  is  in  the  form  of  a  rosette.  At 
its  center  is  a  labret-shaped  figure.  The  red  band  bears  no  relation  whatever  to 
the  ultimate  decoration  of  the  surface. 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

A  compound  vase  is  reproduced  in  figure  191.  The  two  neck  constrictions, 
the  repeated  curves  of  the  outlines,  and  the  decoration,  all  combine  to  give  the 
appearance  of  a  small  vase  resting  on  the  rim  of  a  larger  one.  Of  the  two 
original  ground  colors,  the  red  as  a  rule  predominates.  Here  the  order  is  reversed, 
the  red  being  confined  to  three  rather  narrow  horizontal  bands  at  the  periphery, 
the  lower  neck  constriction,  and  the  rim,  respectively.  The  rest  is  in  light  salmon 
color.  Three  quadrangular  panels  envelop  the  upper  zone  of  the  first  story  and 
the  upper  story  is  decorated  by  three  similar  smaller  panels  enclosing  a  spotted 
field.  The  bottom  is  in  the  original  ground  (salmon),  with  the  exception  of  a 
single  black  band  a  short  distance  below  the  peripheral  band  of  red. 

An  unusual  disposition  of  the  light  and  red  colors  of  the  original  ground  is  to 
be  seen  in  figure  192.  There  is  no  zonal  division.  The  red  field  on  the  bottom 
is  oval,  instead  of  circular  in  shape,  from  either  end  of  which  a  broad  red  band 


Fig.  192. — Vase  showing  unusual  disposition  Fig.  193. — Unique  vase  with  large  long  neck 

of    red   and   light    colors    of   the    original  surmounted  by  a  rectangular  lip,  and  with 

ground.     Lost  color  ware.     '/»  tuberosities     on    the     body.       Lost     color 

ware.     '/« 

is  carried  vertically  upward  to  the  neck,  where  it  divides  and  forms  a  sort  of 
collar.  The  two  vertical  bands  are  also  united  on  either  side  by  a  red  band,  each 
drawn  in  a  plane  slightly  inclined  to  a  horizontal  plane.  There  are  thus  formed 
two  panels  on  a  side,  somewhat  irregular  in  shape.  The  design  on  these  in  light 
and  black  is  almost  wholly  lost.  The  red  paint  was  applied  in  a  careless  manner, 
especially  along  the  margins,  an  irregularity  that  was  corrected  in  the  waxing 
process  and  covered  by  the  final  coating  of  black,  the  latter  being  worn  off. 

A  vase  of  unique  shape  is  now  introduced  (fig.  193)  because  of  the  treatment 
of  the  two  colors  of  the  original  ground.  The  lip  is  here  prolonged  on  either 
side  until  it  becomes  rectangular  in  outline.  Its  upper  surface  is  painted  red. 
The  neck  is  comparatively  long  and  large.  The  relatively  small  body  would  be 
globular  but  for  the  tuberosities  on  the  shoulder,  each  emphasized  by  an  encircling 
band  of  red  (the  only  red  ground  on  the  body).  Of  the  decoration  on  the  light 
ground,  including  the  tuberosities,  very  few  traces  remain,  but  enough  to  identify 
the  vessel  as  belonging  to  the  lost  color  group. 


THE  LOST  COLOR  GROUP.  117 

While  the  lost  color  group  differs  from  all  others  in  respect  to  form  as  well  as 
method  of  ornamentation,  the  decorative  motives  employed  are  often  akin  to  those 
that  characterize  other  groups.  For  example,  one  of  the  distinguishing  motives 
of  the  alligator  ware  consists  of  a  series  of  parallel  lines  or  bands,  the  outer  ones 
being  serrated  along  their  distal  margins.  These  lines  represent  the  longitudinal 
markings  on  the  back  of  the  alligator,  while  the  marginal  serrations  are  added  in 
order  to  emphasize  the  dorsal  tuberosities  or  spines.  The  serrations  sometimes 
assume  the  form  of  triangles  that  are  filled  with  dots  to  indicate  the  scales.  In 
other  words,  this  motive  is  a  conventionalized  rendering  of  the  alligator's  dorsal 
aspect.  I  have  called  it,  therefore,  the  dorsal-view  motive.  This  dorsal-view  motive 
is  not  confined  to  the  alligator  group  alone.  Fine  examples  of  it  occur  on  at 
least  five  of  the  six  lost  color  vases  reproduced  in  Plate  XXXI.  Both  types  of 
lateral  serrations  are  seen  in  figure  a :  the  triangle  type  on  the  crdam  ground  of 
the  shoulder  zone,  and  the  spine  type  on  the  red  ground  of  the  neck.  The  pat- 
terns on  the  latter  are  marred,  however,  the  black  color  of  the  field  having  dis- 
appeared in  part. 

The  original  ground  of  the  shoulder  zone  of  the  vase  reproduced  in  figure  b 
is  also  a  light  cream  color.  But  the  light  zone  is  traversed  by  three  red  bands 
tangent  to  the  neck,  the  red  being  the  same  as  that  covering  the  bottom  and 
the  neck,  respectively.  The  arched  panels  and  the  field  surrounding  the  neck  are 
completely  covered  by  a  series  of  dorsal-view  motives.  Here  the  lateral  serrations 
are  plain  spines.  The  use  of  three  arched  panels,  instead  of  two,  is  typical  of  a 
series  of  vases  belonging  to  the  alligator  ware  (see  PL  XXXVI.) 

The  vase,  in  shape  like  a  tea-caddy  (fig.  c\  is  from  twenty-one  miles  northwest  of 
•David.  The  bottom  is  almost  flat  (in  another  specimen  the  bottom  is  perfectly 
flat).  In  addition  to  the  red  lip  and  neck,  red  bands  encircle  the  body  at  the 
shoulder  and  at  the  margin  of  the  bottom.  From  the  upper  band,  other  red  bands, 
three  in  number,  are  carried  vertically  downward,  then  horizontally,  and  finally 
vertically  again  to  meet  the  band  at  the  bottom,  thus  forming  three  overlapping 
panels.  Each  design  consists  of  an  enclosure  in  the  shape  of  the  panel,  with  a 
series  of  sessile  figures  otherwise  suggesting  the  quadruped  form.  The  zone 
between  the  angles  at  the  neck  and  the  shoulder  is  also  divided  into  three  panels, 
not  by  red  bands,  but  by  a  dorsal-view  motive  in  the  light  color  of  the  original 
ground.  A  single  sketchy  quadruped  figure  occupies  each  of  the  shoulder  panels. 

In  a  vase  from  Bugavita  (fig.  d),  the  pattern  is  confined  to  the  shoulder  zone 
and  is  of  a  pronounced  salmon  color.  It  consists  of  the  dorsal-view  motive  placed 
vertically  and  repeated  seven  times.  The  colors  are  well  preserved  in  the  example 
shown  in  figure  e.  It  represents  a  vase  in  which  all  the  original  ground  is  red, 
and  the  bands  surrounding  the  panels  are  white.  The  coat  of  black,  when  first 
applied,  covered  the  entire  visible  surface  except  the  recurved  lip  and  inner  surface 
of  the  orifice.  The  two  arched  panels  are  relatively  small,  the  pattern  being  alike 
in  both  —  two  dorsal-view  motives  placed  obliquely. 

The  original  ground  in  figure  /  consists  of  two  colors,  the  lip  and  the  bottom 
being  red  and  the  shoulder  cream.  The  lip  looks  as  if  it  had  been  cut  out  of 
the  base  of  a  globular  bowl.  As  it  was  built  upward  and  outward,  it  was  also 
slightly  incurved.  The  orifice  is  oval.  The  margin  being  four-sided,  quite 


118 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


naturally  takes  the  form  not  of  a  square  but  of  a  rectangle,  the  long  sides  of 
which  are  cut  lower  than  their  opposites.  Patterns  cover  the  entire  outer  surface. 
That  on  the  neck  and  lower  zone  consists  of  converging  bands.  The  upper  light 
zone  is  divided  into  three  panels,  the  pattern  on  all  being  the  same.  It  includes 
all  the  elements  of  the  dorsal-view  motive.  The  spots  (scale  motive),  however, 
instead  of  being  placed  in  the  marginal  triangles,  are  bunched  together  in  a 
median  field. 


Fig.  194. — Small  vase  with  radiate  orna- 
mentation.    Lost  color  ware.     */• 


Fig.  195. — Small  vase  with  radiate  orna- 
mentation, the  elements  of  which  may 
be  traced  to  an  alligator  motive.  Lost 
color  ware.  */> 


Fig.  196.  —  Vase  in  pale  yellow  and  black,  with 
zonal  decoration.     Lost  color  ware.     '/" 


Fig.  197. — Vase  in  light  cream  and  black,  deco- 
rated with  vertical  panels  each  enclosing  a  faulted 
meander.  Lost  color  ware.  */« 


The  lost  color  ware  includes  a  series  of  small  vases,  all  the  original  ground  color 
of  which  is  a  rather  light  cream  to  salmon-colored  slip.  The  radiate  ornament 
already  noted  (see  fig.  190)  abounds  in  this  series.  Another  example  is  given  in 
figure  194.  The  same  ornament  is  repeated  in  the  circular  panel  on  the  opposite 
side.  Some  of  the  elements  of  this  pattern  suggest  those  that  make  up  the  dorsal- 
view  motive.  They  may  have  been  derived  from  another  source,  however.  An- 
other variety  of  the  radiate  ornament  or  rosette  is  seen  in  figure  195.  Here  again 
are  present  the  elements  that  form  the  dorsal- view  motive,  but  the  radiate  arrange- 
ment of  the  marginal  triangles  gives  a  different  aspect  to  the  motive  as  a  whole. 

The  zonal  decoration   recurs  in  figure   196.      The  bottom    is   the   color  of  the 


THE  LOST  COLOR  GROUP. 


119 


salmon  slip.  Above  are  alternating  bands  of  black  and  salmon  color.  The  two 
broad  black  bands  are  broken  up  by  a  succession  of  diamond-shaped  figures. 
Red  occurs  only  on  the  rim  and  the  inner  surface  of  the  orifice.  The  panels  in 
figure  197  are  vertical,  reaching  from  the  collar  to  the  bottom,  and  bounded  by 
groups  of  parallel  lines.  Each  panel  holds  a  faulted  meander,  itself  composed  of 
parallel  lines. 

Zonal  and  panel  decoration  is  characteristic  of  the  lost  color  group.  In  very 
rare  instances  is  the  panel  idea  lost  sight  of.  Figure  198,  representing  a  small 
vase  from  Divala,  is  a  case  in  point.  The  original  ground  tint  was  cream-white, 
the  design  executed  in  wax  being  therefore  of  that  color.  It  consists  of  two 


Fig.  198. — Small  vase  decorated  with  parallel  coiled 
bands  ;  from  Divala.     Lost  color  ware.     '/» 


Fig.  199. — Vase    with    handles    and    with    frondlike 
ornamentation.     Lost  color  ware.     '/' 


parallel  bands,  one  solid  and  one  dotted,  curved  in  the  shape  of  a  ram's  horn 
that  describes  a  vertical  circle  twice,  the  base  of  the  horn  being  at  the  neck  and 
the  tip  in  the  plane  of  the  equatorial  diameter.  The  black  field  within  the  outer 
coil  is  decorated  with  a  white  pattern  in  the  shape  of  a  four-pointed  starfish. 
The  design  is  repeated  on  the  opposite  side  of  the  vessel  and  in  the  same  sense, 
i.  e.,  each  represents  the  right  horn.  A  similar  design  is  found  on  a  small  vase 
from  Bugavita.  In  the  latter  case,  the  coil  is  carried  round  three  times  and  is 
therefore  closer,  leaving  no  room  for  the  starfish  pattern. 

The  vase  reproduced  in  figure  199  is  provided  with  a  pair  of  handles  uniting 
shoulder  with  prolonged  lip.  The  handles  having  been  applied  before  the  polishing 
took  place,  their  under  surfaces  as  well  as  the  neck  and  the  parts  of  the  shoulder 
underneath  the  handles  are  left  in  the  rough.  The  lip  and  the  outer  surface  of 
the  handles  are  painted  red.  The  original  ground  of  the  neck  and  entire  body 
is  a  pale  salmon  slip.  The  black  is  so  nearly  gone  that  the  decoration  is  much 
dimmed.  A  frondlike  motive  is  repeated  over  and  over  again.  A  median  point 
on  the  bottom  is  the  center.  Through  it  pass  four  slender  vertical  parallel  bands 
reaching  from  a  position  half-way  between  the  handles  on  one  side  to  a  like 
position  on  the  opposite  side.  Beginning  at  the  bottom  and  ascending  on  either 
side  to  the  neck  are  successive  pairs  of  opposite  fronds.  Each  frond  consists  of 
three  slender  parallel  bands  rather  sharply  curved  at  the  tips,  with  a  single  row 
of  spots  adjacent  and  parallel  to  the  longer  upper  band.  In  some  cases  this  row 


120  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

of  dots  is  carried  up  the  stem  to  the  base  of  the  succeeding  frond.  In  the  large 
field  below  the  base  of  each  handle  there  is  a  design  with  diamond-shaped  center 
and  six  frondlike  appendages,  recalling  the  design  in  the  arched  panels  of  the 
vase  reproduced  in  Plate  XLII  (fig.  a). 

As  has  been  already  pointed  out,  representations  of  the  human  form  are  prim- 
itive in  their  conception  and  execution.  This  is  true  of  the  two  human  figures 
in  relief  on  the  shoulders  of  the  vase  reproduced  in  figure  200.  The  attitude  in 
both  cases  is  striking.  The  human  figure  on  one  side  seems  to  be  in  the  act 
of  descending  feet  foremost  and  with  back  against  the  surface,  to  which  it  clings 
with  outstretched  arms.  The  treatment  of  the  head  is  especially  interesting.  The 


Fig.  200.  —  Vase  with  primitive  human  figures  as  shoulder 

ornaments.     Lost  color  ware.     '/> 

Fig.  201.  — Very  small  vase  with  relief  figures  on  shoulder 
representing  the  human  head  and  arms.     Lost  color 
Fig.  200.  ware.      '/» 

neck  is  not  indicated  ;  the  chin  receding ;  the  mouth  open ;  nose  and  retreating 
forehead  are  in  a  straight  line;  and  the  occipital  region  is  flattened,  meeting  the 
frontal  portion  at  a  rather  sharp  angle.  This  type  of  head  is  to  be  seen  in 
figure  201  and  on  some  of  the  figurines  and  whistles  (see  fig.  266).  It  also  recalls 
the  primitive  figurines  with  birdlike  heads,  from  Argos,  that  date  back  to  1200  B.  C. 
Black  circles  of  paint  represent  the  eyes.  The  other  human  figure  is  the  same 
in  every  respect  save  the  attitude.  It  seems  to  have  fallen  backward  while  in 
the  act  of  ascending  face  foremost.  The  legs  are  sharply  flexed  at  the  knee 
and  the  arms  are  extended  to  prevent  further  descent.  The  upper  zone  in  which 
the  relief  ornaments  occur  is  light  cream,  while  the  bottom,  the  margin  of  the  lip 
and  inner  surface  of  the  orifice  are  red.  The  black  paint  has  almost  entirely  dis- 
appeared, so  that  the  design  cannot  be  determined  beyond  the  series  of  painted 
eye  ornaments  surrounding  the  neck. 

In  figure  201  is  reproduced  one  of  the  smallest  examples  of  the  lost  color  ware. 
The  original  ground  is  partly  red  and  partly  light  cream.  The  relief  figures  on 
the  shoulder  represent  the  human  head  and  arms.  The  head  belongs  to  the  prim- 
itive bird  type  and  there  is  a  distinct  coiffure  in  relief,  accentuated  on  the  rather 
flat  top  by  bands  of  light  and  black.  The  eyes  are  in  relief  that  is  heightened 
by  the  use  of  color.  The  upper  zone  is  ornamented  with  the  dorsal-view  (alligator) 
motive. 


THE  LOST  COLOR  GROUP. 


121 


The  black  paint  has  entirely  disappeared  from  the  vase  represented  in  figure  202. 
The  orifice,  rim,  and  bottom  are  red  and  the  shoulder  zone,  light.  The  relief 
ornament  consists  of  a  birdlike  head,  opposite  which  is  a  horizontally  applied  loop 
handle  taking  the  place  of  a  tail.  A  small  vessel  from  Divala,  25  miles  west- 
northwest  of  David,  is  shown  in  figure  203.  A  single  vertical  handle  connecting 
rim  and  shoulder  on  one  side  is  balanced  on  the  other  by  a  figure  in  relief,  with 
human  body  and  a  beak  of  a  bird,  presumably  the  parrot-god  so  well  represented 
among  the  gold  figurines  (see  figs.  369,  373). 

The  group  includes  a  number  of  small  double  vessels  with  single  arched  handle 
connecting  the  inner  margins  of  two  lips.  One  of  these  from  El  Banco,  is  shown 


Fig.  202.— Vase  ornamented  with  bird's  head  and 
tail  in  relief,  the  latter  resembling  a  horizontal 
loop  handle.  Lost  color  ware.  Vt 


Fig.  203. — Vase  with  vertical  handle,  opposite  which 
is  a  figure  with  human  body  and  the  beak  of  a 
bird,  presumably  the  parrot-god ;  from  Divala. 
Lost  color  ware.  */» 


Fig.  204. — Small    double    vessel    with    single    arched 
handle  ;  from   El   Banco.     Lost  color  ware.     V" 


Fig.  205. — Double  vessel  with  two  outer  handles 
and  a  single  short  arched  central  handle.  Lost 
color  ware.  '/' 


in  figure  204.  The  original  ground  is  light  cream.  No  traces  of  black  paint 
remain.  The  outer  surface  is  blackened  by  smoke.  The  crest  of  the  arched 
handle  is  marked,  by  a  fillet.  There  is  no  communication  between  the  interior 
of  one  bowl  and  that  of  the  other. 

The  double  vessel  reproduced  in  figure  205  differs  in  detail  from  the  preceding. 
The  original  ground  is  of  a  rich  salmon  color.  Each  of  the  two  vessels  has  a 
vertical  handle  connecting  the  outer  margin  of  the  lip  with  the  shoulder.  A  single 
short  arched  handle  connects  the  adjacent  margins  of  the  lips.  This  handle  in 
common  is  strengthened  by  a  vertical  prop.  The  two  bowls  are  placed  close 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  16 


122       .  A  STUDY  OF  CHIR1QUIAN  ANTIQUITIES. 

together,  their  interiors  communicating  by  means  of  a  foramen  large  enough  to 
admit  the  little  finger. 

A  comparatively  small  number  of  vessels  belonging  to  the  lost  color  group  are 
mounted  as  tripods.  A  selection  from  these  to  show  the  variations  in  form  and 
ornamentation  as  well  as  the  character  of  the  tripod  legs,  is  seen  in  Plate  XXXII. 
The  body  of  a  tripod  vase  from  Divala  (fig.  a)  is  so  altered  in  the  equatorial 
region  as  to  resemble  the  crab.  The  mouth  is  indicated  by  a  node  with  one 
horizontal  and  three  vertical  incisions.  Next  to  the  mouth  is  the  first  pair  of 
legs,  flexed,  with  incisions  to  indicate  claws.  Back  of  the  legs  and  making  the 
complete  circuit  of  the  body  are  six  pairs  of  spines.  The  third  pair,  being  much 
larger  than  the  others,  gives  to  the  cephalothorax  the  appearance  of  being  broader 
than  long.  The  crablike  shape  is  thus  rendered  without  lengthening  the  equatorial 
diameter  of  the  interior  in  the  direction  of  the  large  spines.  The  proportionately 
great  breadth  of  the  cephalothorax  is  similarly  indicated  in  several  crablike  tripods 
of  the  armadillo  group,  with  this  exception  —  that  in  some  cases  the  greatest 
horizontal  diameter  of  the  interior  is  in  line  with  the  pair  of  great  lateral  spines, 
thus  further  emphasizing  the  breadth  of  the  cephalothorax.  The  neck  of  the 
vase  in  question  is  red ;  the  shoulder,  i.  e.,  the  dorsal  part  of  the  crab's  body,  is 
light  cream ;  the  ventral  surface  or  portion  below  the  spines  is  red,  with  the  ex- 
ception of  a  modified  trefoil  or  trilobed  pattern  on  the  bottom  and  between  the 
the  tripod  supports,  which  is  light  cream.  The  solid  tripod  supports  are  deeply 
incised,  painted  red,  and  cross-banded  by  the  usual  lost  color  process.  The  most 
interesting  part  of  the  painted  decoration  is  reserved  for  the  back  of  the  crab  or, 
in  other  words,  the  shoulder  of  the  vessel,  which  is  divided  into  four  panels  by 
labret-  or  spool-shaped  ornaments,  each  one  being  accompanied  by  two  eyes.  This 
particular  combination  of  the  two  motives  evidently  represents  the  animal  head. 
One  of  these  is  therefore  very  appropriately  placed  directly  over  the  crab's  mouth. 
The  same  design  unaccompanied  by  eye  ornaments  was  noted  in  Plate  XXX 
(fig.  /)  and  in  figure  190.  Each  panel  is  decorated  with  a  row  of  monkeys  sitting 
upright,  with  long  recurved  tail  and  extended  legs.  All  are  facing  in  the  same 
direction,  i.  e.,  to  the  right,  just  as  in  the  vase  from  Bugavita  (see  Plate  XXVII, 
fig.  6).  In  both  examples  the  monkey  figures  are  so  nearly  alike  that  they  might 
be  considered  the  work  of  one  school  of  artists,  if  not,  indeed,  of  the  same  artist. 

Figure  b,  reproducing  a  shallow  tripod  bowl,  is  an  interesting  example  of  con- 
verting the  body  of  the  vessel  into  the  the  body  of  the  animal  without  essentially 
altering  the  simplicity  of  the  original  phytomorphic  outlines.  In  the  region  of 
greatest  horizontal  diameter  of  the  body,  the  walls  are  suddenly  drawn  in  for  a 
short  distance  and  then  turned  upward  and  slightly  outward  at  the  margin.  This 
mere  suggestion  of  a  neck  is  excuse  enough  for  the  artist  to  leave  the  interior 
unpainted.  The  life  elements  are  in  relief  and  applied  to  the  exterior  in  the  plane 
of  the  angle  between  the  narrow  shoulder  and  the  body  proper.  Three  flattened 
nodes  in  a  horizontal  plane  represent  the  tail  and  wings.  The  neck  rises  almost 
vertically,  the  head  which  is  turned  to  one  side  being  that  of  the  turkey-buzzard 
(Cathartes  aura).  Its  baldness  is  emphasized  by  an  incised  fillet  about  the  neck, 
separating  the  feathered  from  the  unfeathered  portion ;  by  eyes  in  high  relief, 
nodes  with  annular  indentations,  and  by  absence  of  paint.  On  the  other  hand, 


THE  LOST  COLOR  GROUP. 

the  neck  of  the  buzzard,  as  well  as  the  rim  and  external  surface  of  the  vessel 
—  that  is  to  say,  the  feathered  neck  and  body  of  the  bird  —  were  originally  painted 
red,  with  the  exception  of  a  triangular  area  on  the  bottom  bounded  by  the  tripod 
supports,  which  like  the  buzzard's  head  and  the  interior  of  the  vessel  is  pale  brick- 
red,  the  color  of  the  paste  after  firing.  The  painted  portions  are  everywhere 
decorated  with  groups  of  parallel  straight  bands  that  meet  at  various  angles.  The 
supports  are  banded  horizontally. 

The  lost  color  group  is  characterized  by  a  prodigality  of  external  ornamentation, 
even  the  bottom  of  the  vase,  which  would  be  invisible  under  ordinary  circum- 
stances, coming  in  for  its  share.  One  would  expect  to  find  a  decorative  design 
on  the  easily  visible  interior  of  the  open  shallow  bowl  reproduced  in  figure  c. 
The  margin  of  the  rim  and  the  interior  are  given  a  uniform  coat  of  red,  there 
being  absolutely  no  traces  of  black  over  a  waxed  pattern.  With  the  exception 
of  the  legs,  the  whole  outer  surface,  however,  including  the  bottom,  is  elaborately 
decorated.  The  original  ground  of  the  sloping  sides  is  a  light  cream  slip ;  that 
of  the  bottom  is  a  red  paint.  The  spool-shaped  ornament  accompanied  by  a  pair 
of  eyes  is  repeated  so  as  to  divide  the  light  zone  into  five  panels.  These  are 
each  crossed  vertically  by  three  groups  of  parallel  bands,  the  group  on  the  left 
in  each  case  being  somewhat  smaller  than  the  other  two  groups.  The  decorative 
unit,  therefore,  is  the  spool-head  and  eyes  and  three  groups  of  bands,  in  other 
words,  the  head  and  body  of  an  animal.  If  an  animal  form,  then  the  most  plau- 
sible interpretation  of  the  banded  body  is  that  it  represents  the  carapace  of  the 
armadillo.  The  pattern  in  red  on  the  bottom  consists  of  series  of  curved  bands 
grouped  about  the  bases  of  the  tripod  supports,  and  might  be  described  as  a 
modified  trefoil. 

The  neck  in  figure  d  being  only  slightly  constricted  is  sufficient  reason  for  not 
painting  the  interior.  The  rim  and  bottom,  including  the  legs,  are  red  and  the 
shoulder  is  finished  in  a  light  salmon  slip  still  visible  through  the  black  inter- 
spaces in  the  design.  Six  groups  of  narrow  vertical  bands  alternate  with  as  many 
labret-  or  spool-shaped  ornaments.  Three  of  these  are  on  end  and  three  placed 
horizontally.  Each  is  accompanied  by  a  pair  of  eye  ornaments.  The  spool-shaped 
figure  thus  suggests  the  head  and  nose  of  some  animal.  There  is  a  group  of 
bands  for  each  head.  Therefore,  the  whole  is  intended  to  represent  an  animal, 
presumably  the  armadillo  (see  fig.  c). 

That  the  interior  of  the  shallow  tripod  bowl  shown  in  figure  e  was  treated  by 
the  lost  color  process,  there  can  be  no  doubt,  because  of  the  preservation  of  the 
black  paint.  The  design  is  pleasing  and  bilaterally  symmetrical.  Traces  of  black 
are  also  found  on  the  rim,  which  was  originally  red.  When  painted  at  all,  the 
interiors  of  the  lost  color  group  are  always  colored  red.  The  modified  trefoil 
pattern  on  the  red  bottom  is  similar  to  that  shown  in  figure  c.  It  may  be  that 
the  painted  interiors  of  all  the  shallow  bowls  of  this  group  were  treated  to  wax 
and  black  paint,  as  was  the  case  in  the  last  bowl  described.  There  are  very 
faint  traces  of  black  bands  on  the  interior  of  a  large  shallow  tripod  bowl  from 
Escaria. 

In  figure  /,  the  interior  of  the  tripod  bowl,  being  easily  visible,  is  painted  (red) 
and  highly  polished.  If  it  was  ever  decorated  with  a  pattern  of  black  over  wax, 


124  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

the  black  has  so  completely  disappeared  as  to  leave  no  traces  of  it.  The  outer 
surface,  including  legs  and  bottom,  is  all  decorated ;  the  sides  with  black  on  light 
cream,  the  legs  and  bottom  with  black  on  red.  The  sides  are  divided  into  four 
panels  by  means  of  four  groups  of  vertical  bands,  two  of  these  groups  being 
themselves  subdivided  into  three  groups,  the  outer  ones  differing  from  the  inner 
in  such  a  manner  at  to  suggest  the  anterior,  middle,  and  posterior  regions  of 
the  carapace.  In  the  four  panels  are  figures,  apparently  representing  rolled-up 
animals. 

A  deviation  from  both  the  bottle-shaped  vase  and  the  shallow  tripod  bowl  is 
noted  in  figure  g.  The  sloping,  flattened  upper  half  of  the  body  and  the  collar 
rising  sharply  above  produce  a  new  type  of  vase.  The  bottom  and  tripod  supports 
are  red ;  the  upper  stories,  light  cream.  The  design  on  the  bottom  is  the  modified 
trefoil.  The  legs  are  marked  by  horizontal  bands. 

With  figure  h,  we  drop  back  to  the  plain  primitive  calabash  type  for  the  body 
of  the  tripod  bowl.  The  rim  and  interior,  being  easily  visible,  are  painted  red 
but  were  not  otherwise  decorated  so  far  as  can  be  detected  at  present.  The 
outer  surface  of  the  body  is  divided  into  two  zones,  an  upper  in  the  light  color 
of  the  slip  and  a  lower  in  red.  Both  were  decorated,  faint  traces  of  the  black 
paint  being  still  visible.  The  legs  are  of  special  interest.  They  are  rather  long 
and  provided  with  wide  lateral  slits.  Near  the  attachment  of  each  tripod  support 
are  two  protuberances  for  eyes,  the  representation  being  further  accentuated  by 
a  circle  of  black  paint  surrounding  a  black  spot.  Between  the  eyes  is  the  spool- 
shaped  figure,  also  in  black,  and  completing  the  head  symbol,  as  shown  in  previous 
illustrations  (see  figs,  a,  c  and  d).  The  identity  of  the  head  motive,  therefore,  is 
established  beyond  the  shadow  of  a  doubt.  Below  the  head  are  three  black 
horizontal  bands  (the  carapace  motive)  so  that  each  tripod  support  is  a  life  form, 
evidently  the  armadillo. 

Another  interesting  feature  about  this  specimen  is  that,  from  the  view-point  of 
the  technique  involved  in  the  decoration,  it  serves  as  a  connecting  link  between 
the  lost  color  group  and  the  so-called  alligator  group  that  succeeds  it.  The  lost 
color  technique  is  everywhere  followed  in  ornamenting  the  body  of  the  vessel, 
as  regards  both  exterior  and  interior.  The  interior,  for  instance,  of  shallow  bowls 
of  this  type  is  always  painted  red,  while  in  the  alligator  group  it  is  coated  with 
a  light  cream  slip.  The  exterior  was  treated  to  the  usual  coat  of  non-adhesive 
black  over  a  waxed  pattern  —  the  very  essence  of  the  lost  color  process.  On 
the  other  hand,  the  design  on  the  tripod  supports  is  produced  directly  by  the 
application  of  black  paint,  the  black  being  the  design,  instead  of  the  interspace, 
and  also  being  a  much  more  permanent  black  than  that  employed  in  the  lost 
color  process.  It  is  apparently  the  same  black  that  is  used  as  a  delineating  color 
in  the  alligator  group.  This  is  another  evidence  of  the  homogeneity  of  Chiriquian 
art,  although  the  various  groups  may  be  quite  distinct  as  a  whole. 

A  number  of  small  figurines,  whistles,  needle-cases  and  rattles,  belonging  to  the 
lost  color  group  will  be  described  in  a  subsequent  chapter. 


125 


THE  ALLIGATOR  GROUP. 

One  of  the  most  interesting  classes  of  Chiriquian  pottery  is  that  appropriately 
named  by  Holmes,  the  alligator  group.  In  point  of  numbers,  it  is  inferior  to  the 
lost  color  group.  It  is  like  the  latter  in  that  a  majority  of  the  vessels  may  be 
classed  as  bottle-shaped  vases  with  globular  bodies ;  and  in  the  comparative  rarity 
of  features  in  relief,  such  as  handles,  legs  and  plastic  shoulder  decorations.  The 
average  size  is  also  about  the  same  in  the  two  groups.  On  the  other  hand,  there 
are  striking  differences  to  be  noted.  The  line  of  demarcation  between  neck  and 
shoulder  is  not  so  sharp  and  the  width  of  neck  is  proportionately  greater.  The 
interiors  are  more  carefully  finished,  although  much  inferior  in  this  respect  to  the 
armadillo  group.  The  forms  are  usually  pleasing  and  are  perhaps  more  varied 
than  in  the  lost  color  group. 

The  chief  distinction  between  the  two  groups  lies  in  the  processes  of  orna- 
mentation in  color;  for,  while  telling  its  story,  each  depends  primarily  on  color 
to  attract  the  attention.  The  lost  color  process  has  already  been  described.  The 
original  ground  was  usually  in  two  colors,  a  red  pigment  and  a  light  cream  slip 
in  alternating  zones.  Frequently  the  entire  original  ground  was  red,  sometimes 
light  cream  to  salmon.  The  designs  were  always  in  one  or  both  of  these  colors. 
In  the  alligator  group  the  designs  are  always  on  a  pale  yellow  slip,  which  is 
almost  always  applied  to  the  entire  surface.  The  lip  is  often  red  and  in  a 
number  of  cases  the  same  pigment  covers  the  bottom,  but  designs  are  never 
worked  out  upon  the  red  surfaces.  Both  red  and  black  are  delineating  colors, 
the  black  playing  perhaps  the  more  important  role.  The  black  is  a  fast  color  in 
comparison  to  the  black  of  the  lost  color  group. 

The  motives  are  either  distinctly  life  forms  or  else  derivatives  that  are  traceable 
to  such  forms.  The  alligator  is  the  favorite  subject :  hence  the  name  given  to  the 
group.  Among  the  bottle-shaped  vases,  the  decorative  motives  are  confined  to 
the  shoulder  and  are  not  always  set  in  panels.  Frequently  the  shoulder  zone  is 
divided  into  two  or  three  arched  panels,  calling  to  mind  the  arched  panels  of  the 
lost  color  group.  In  the  latter  there  are  generally  but  two  such  panels ;  on  the 
other  hand,  in  the  alligator  group,  the  prevailing  number  is  three.  Again,  the 
motives  are  not  always  set  in  a  delimited  zone  or  in  panels,  but  are  often  painted 
on  the  shoulder  without  a  setting. 

The  motives  derived  from  the  armadillo  as  well  as  from  the  fish,  the  frog,  the 
bird  and  the  jaguar  are  almost  always  plastic.  Plastic  forms  of  the  alligator  are 
not  often  met  with  except  among  gold  ornaments.  Painted  forms  of  the  alligator 
and  derivatives  therefrom  are  on  the  contrary  very  abundant,  especially  in  two 
of  the  groups  of  pottery. 

While  these  painted  figures  of  some  saurian  were  referred  by  Holmes  to  the 
alligator,  it  is  by  no  means  certain  whether  the  ancient  Chiriquian  artist  may  not 
have  had  in  mind  the  crocodile  instead.  Both  are  found  in  Chiriquian  waters. 
According  to  Sumichrast *  the  alligator  (Alligator  punctulatus)  is  nocturnal  and 
solitary,  never  inhabiting  running  or  brackish  water,  but  only  the  bottom  of  shallow 

1  Quoted  by  A.  Giinther  in  Biologia  Centrali- Americana,  reptilia  and  batrachia,  18, 1885-1902. 


126 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


or  muddy  streams  in  plains  or  stagnant  pools  in  woods.  The  habits  of  the  cro- 
codile are  quite  different.  They  frequently  live  in  numerous  herds  and  are  found 
in  both  salt  and  fresh  waters  —  estuaries,  rivers  and  lakes.  Seemann,  therefore, 
probably  meant  the  crocodile  when  he  wrote :  "  Alligators  are  numerous  on  the 
mouths  of  rivers,  where  they  are  found  sunning  themselves  on  the  muddy  banks." 
Armand  Reclus1  might  have  had  the  crocodile  instead  of  the  alligator  in  mind 
when  he  said :  "  The  caymans  sleep  with  the  mouth  open,  the  upper  jaw  almost 
vertical."  Such  scenes  must  have  been  familiar  to  the  ancient  Chiriquians,  and 
may  account  for  the  characteristic  way  in  which  the  jaws  were  represented  — 
open  mouth  and  upturned  snout.  The  length  of  the  jaw  is  often  exaggerated, 
as  if  the  artist  had  in  mind  Crocodilus  americanus,  var.  acutus,  instead  of  the  shorter 
muzzled  alligator.  It  was  the  crocodile  also  that  figured  as  cipactli  in  the  ancient 
Mexican  picture-writing.  Notwithstanding  all  these  reasons  for  believing  the  cro- 
codile to  be  the  saurian  depicted,  it  does  not  seem  best  to  change  the  name 
chosen  by  Holmes.  It  is  retained,  therefore,  with  the  proviso  that  it  be  given  a 
liberal  interpretation. 

A  favorite  representation  is  that  showing  the  alligator  in  absolute  profile  (fig.  206). 
This  is  one  of  the  more  realistic  forms,  but  contains  several  of  the  elements  that 

have  become  independent  decorative 
motives ;  hence  it  may  be  regarded 
as  a  sort  of  key  to  much  that  follows. 
Note  especially  the  open  mouth  with 
teeth,  the  prolonged  and  upturned 
snout,  and  the  dorsal  markings  on 
the  head,  back  and  tail.  The  last 
consists  of  groups  of  spots  in  a 
triangular  and  a  semicircular  field, 
and  a  series  of  spines.  These 
represent  the  body-markings  of  the 
alligator  (or  crocodile,  as  the  case 
may  be).  As  is  well  known,  the 
dorsal  scutes  or  scales  form  longi- 
tudinal series.  The  keels  or  spines 
of  the  scutes  may  be  easily  seen 
in  profile  and  therefore  give  the 
artists  little  trouble.  The  scales 
are  not  so  conspicuous.  The  diffi- 
culty of  reproducing  them  is  happily 
obviated  by  placing  them  in  tri- 
angular or  semicircular  fields  that 

stand   out   above,  the  dorsal   line.      I  shall  call  these  scale-group  motives.     The 
other  markings  are  of  course  spine  motives. 

A  similar  treatment  of  the  alligator  is   noted  in  figure  207  —  open   mouth  with 
teeth,  and  upturned  snout.     Here  however  there  are  no  spines   on  the  back,  the 


Fig.  206. — Detail  showing  favorite  J  representation   of  alligator 
in  profile.     '/> 


Fig.  207. — Similar  treatment  of  the  alligator. 


1  Panama  et  Darien,  149,  1881. 


THE  ALLIGATOR  GROUP.  127 

body-markings   being  represented  by  only  one  type  of  scale-group  motive.     This 
is  repeated  three  times  on  the  head  and  five  times  on  the  tail. 

A  variation  of  the  foregoing  is  seen  in  figure  208,  which  is  a  tracing  from  the 
largest  alligator  vase  in  the  collection,  the  gift  of  Mr.  Edwin  Lamson  of  Summit, 
N.  J.  Here,  the  triangular  scale-group  motives  on  the  head  and  neck  rest  on  the 


Fig.  208. — Alligator  in  profile  with   inverted  scale-group  motives  and  nuchal  appendage.     '/> 

apex  instead  of  on  the  base  of  the  triangle.  The  scales  on  the  body  and  tail 
are  grouped,  but  are  not  enclosed.  The  same  motive  is  used  for  the  teeth,  the 
latter  being  confined  to  the  upper  jaw  only.  This  illustrates  one  of  the  processes 
employed  in  conventionalism,  viz.,  the  substitution  of  one  part  for  another.  Atten- 
tion is  called  to  the  appearance  of  a  long  crest  that  is  attached  to  the  back  of 
the  neck,  the  meaning  of  which  is  not  clear;  also  to  the  downward  sweep  of  the 
body  curve,  which  is  a  marked  feature  of  alligator  representations  in  color. 

There  are  a  number  of  processes,  taken  either  separately  or  in  combination, 
that  may  lead  to  conventionalism.  Some  of  these  are :  (1)  The  reduplication, 
exaggeration,  elimination  and  fusion  of  parts ;  (2)  transposition,  shifting  and  sub- 
stitution :  (3)  isolation  of  parts,  and  their  use  independently  of  the  whole ; 
(4)  wholesale  reduction  and  simplification ;  and  (5)  adapting  the  figure  to  fit  a 


Fig.  209. — Detail  showing  fusion  of  two  alligators  in  profile. 


given  space.  To  give  balance,  for  example,  a  second  head  may  be  added,  as  in 
figure  209,  which  is  in  reality  a  fusion  of  two  alligators,  also  carrying  with  it  the 
elimination  of  the  tails  and  hindlegs.  Elimination  may  arise  simply  from  lack  of 
space,  as  exemplified  in  this  case  by  the  loss  of  the  nuchal  crest  from  one  of  the 
necks.  Triangular  scale-group  motives  are  recognized  on  the  head  and  neck  at 
the  left.  Those  on  the  right  are  also  triangular,  but  stand  on  their  apices  and 


128 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


are  filled  in  solid  instead   of  being  open  dotted  fields.     This  type  was  noted  in 
the  lost  color  ware  (see  PI.  XXXI,  fig.  /). 

The  exaggeration  of  parts  is  well  shown  in  figure  210,  where  the  jaws,  partic- 
ularly the   lower  one,  are   exceptionally  long.     Both   are  recurved.     The  nuchal 


Fig.  210. — Alligator  profile  showing  exaggeration  of  jaws  and  nuchal  appendage.      '/• 

crest  also  reaches  its  maximum,  and  the  downward  swing  of  the  body-line  is 
typical.  Another  characteristic  of  the  alligator  profile  is  seen  to  good  advantage 
here,  namely,  the  longitudinal  rise  of  the  fronto-nasal  region. 

That  figure  211  came  from  a  panel  is  evident  from  the  disposition  of  parts. 
The  head  is  turned  so  as  to  fill  the  hollow  of  the  body  curve.  The  shortness 
of  the  panel  made  it  expedient,  also,  to  flex  the  tail  sharply  and  shorten  the 
nuchal  crest.  The  top  of  the  head  is  adorned  with  four  typical  spine  motives. 

The  same  relative  position  of  head,  body,  legs  and 
tail  is  seen  in  figure  212,  except  that  here  the  lower 
jaw  is  longer  than  the  body  and  tail  combined  and 
the  nuchal  crest  unduly  developed,  apparently  as  a 
counterpoise  to  the  extreme  length  of  jaw.  In  figure213. 
it  is  the  body,  legs  and  tail  that  suffer  from  reduction, 
while  the  head  and  nuchal  crest  remain  prominent. 

Some  of  the  vases  from  which  several  of  the  forego- 
ing tracings  came  are  illustrated  in  Plate  XXXIII. 
These  vase  forms  are  typical  for  the  group,  with  the 
possible  exception  of  figure  a,  in  which  the  setting  of 

the  neck  on  the  shoulder  deviates  from  the  type.  The  slip  is  a  pronounced  salmon 
color.  The  unusually  broad  decorated  zone  is  divided  into  four  panels,  two 
long  and  two  short.  The  long  panels  are  each  adorned  with  the  figure  of  an  alli- 
gator. The  two  form  a  procession,  i.  e.,  each  when  turned  toward  the  observer  is 
found  to  be  facing  toward  the  right.  The  framework  is  in  red.  The  outlines  and 
superficial  markings  representing  the  scales,  spines,  toes,  and  even  the  teeth,  are 
in  black.  A  short  stroke  of  black  also  denotes  the  central  part  of  the  body  and 
the  eye.  Practically  all  the  features  common  to  the  conventional  representation  of 
the  alligator  are  present  here  —  the  wide-open  mouth,  with  pronounced  jaws  and 
upturned  snout ;  the  dotted  protuberances  (scales)  on  head  and  back ;  the  spines 


Fig.  211. — Alligator  profile  adapted 
to  fit  the  space  at  hand.     V' 


THE  ALLIGATOR  GROUP. 


129 


on  head,  neck  and  tail  :   and  the   curve  of  the  back  emphasized  by  the  uplifted 
head  and  tail. 

In  both  form  and  finish,  the  piece  shown  in  figure  b  is  more  characteristic  of 
the  alligator  ware.  The  line  of  the  shoulder  passes  without  a  break  into  the  line 
of  the  neck.  The  latter  is  slightly  flaring  and  ends  bluntly  without  any  marked 
lip  differentiation.  The  entire  outer  surface,  except  the  lip,  is  finished  in  a  pale 
yellow  slip.  There  is  no  paneling  about  the  two  alligators  on  the  shoulder,  the 
head  of  each  reaching  almost  to 
the  tail  of  the  other.  Each  figure 
is  in  black  and  red,  the  outline 
being  a  slender  band  of  black  and 
the  interior,  red.  The  shape  is 
influenced  by  the  contour  of  the 
surface  to  be  decorated,  which  in 
a  measure  at  least  would  account 
for  the  upturned  snout,  the  very 
long  lower  jaw  curving  downward 
and  backward  on  itself,  the  curve 
of  the  long  tail,  and  the  enormous 

f  212—  Profile  of  alligator  with  head  turned   backward,   the 
long  lower  jaw  being  balanced   by  the  well  developed  nuchal 

appendage. 


'/• 


development     Of    the     Occipital     Or 

nuchal  appendage  —  a  sort  of  ex- 
aggerated    spine,    with    a    smaller 

spine  in  black  near  its  base.  The  characteristic  swaying  downward  of  the  back, 
noted  by  Holmes,  may  also  be  traced  to  the  same  source.  Details  such  as  teeth 
and  toes  are  left  out.  The  profile  is,  as  usual,  absolute.  Very  similar  to  the 
preceding  is  figure  c,  reproducing  a  vase  discolored  by  smoke.  The  shape  of  the 
vase  is  practically  the  same,  as  is  also  the  treatment  of  the  alligator,  except  that 
the  secondary  spine  is  missing  and  the  hanging  lower  jaw  curves  upward  into 
the  wide-open  mouth,  instead  of  downward. 

The  design  on  the  shoulder  of  a  double-necked  vase  from  Bugavita  (fig.  d) 
looks  at  first  glance  like  a  meaningless  bundle  of  waving  arms.  The  groundwork 
is  red,  as  usual,  and  the  outlines  are  in  black.  The 
whole  is  a  conventional  treatment  of  the  alligator,  the 
neck  being  turned  so  as  to  project  the  exaggerated  jaws 
backward  over  the  entire  length  of  body  and  tail.  The 
lower  jaw,  which  is  turned  downward  at  the  end,  follows 
rather  closely  the  curve  of  the  back  and  tail.  The  snout 
is  upturned.  There  is  a  long  curved  nuchal  appendage 
acting  as  a  balance  to  the  prolonged  mandible  on  the 
left.  The  space  between  and  below  is  amply  filled  by 

a  relatively  small  trunk,  tail  and  legs.  The  alligator  on  the  opposite  side  is  re- 
produced in  figure  212. 

The  lines  are  much  easier  to  follow  in  figure  e,  where  the  jaws  are  comparatively 

short  and  straight.     The  nuchal  appendage,  though  reduced  in  size,  is  still  prom- 

inent.    Somewhat  more  sketchy  is  the  representation  of  the   alligator  in  figure  /. 

The    head    proper    is    the    most   prominent    part,    the  red   foundation   enclosing  a 

MEMOIRS  CONN.  ACAD.,  Vol.  111.  17 


Fig.  213.  — Profile  of  alligator 
in  which  only  the  head  and 
nuchal  crest  remain  prom- 
inent. '/' 


130 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


triangular  space  in  which  the  eye  is  set.  With  this  head  triangle  as  a  center, 
the  boundary  lines  are  simply  continued  to  form  the  other  parts.  The  legs  are 
eliminated.  The  body  and  tail  are  straight  and  much  shorter  than  the  nuchal 
appendage.  These  are  balanced  on  the  right  by  an  upturned  snout  and  drooping 
lower  jaw. 

A  well-balanced  but  angular  and  stylistic  representation  of  the  alligator  is  shown 
in  figure  214.  Conventionalism  is  also  somewhat  heightened  by  the  breaks  in 
the  black  outline  at  the  ends  of  the  feet  and  the  jaws.  The  balance  would 


Fig.  214. — Well-balanced     but     angular    and    stylistic 
representation  of  the  alligator.     2/' 


Fig.  215. — Highly  conventionalized  two-headed  al- 
ligator.    '/> 


be  complete  if  the  tail  were  replaced  by  a  head.  This  is  what  has  been  done 
in  figure  215,  which  is  genetically  related  to  the  foregoing  and  which  presents 
a  highly  conventionalized  two-headed  alligator.  The  black  outlines  are  still  further 
broken  up  and  dots  enough  to  answer  for  eyes  as  well  as  teeth  are  placed  in 
each  of  the  wide-open  mouths.  Another  double-headed  alligator  is  seen  in  figure  216, 


Fig.  216. 

Fig.  216. — Double-head   alligator,  with    nuchal    crest    on   the 

head  at  the  left.     '/> 
Fig.  217. — Two-headed     alligator    showing     transposition     of 

parts,  both  nuchal  crests  being  attached  to  the  same  neck.   '/« 
Fig.  218. — Two-headed  alligator  with  nuchal  crests  absent.    '/» 


Fig.  218. 


the  neck  of  the  head  on  the  left  being  supplied  with  a  nuchal  crest.  Here  the 
dots  representing  eyes  and  teeth  are  placed  where  space  invites,  rather  than 
where  they  belong. 

A  good  example  of  the  transposition  of  parts  is  given  in  figure  217,  both  nuchal 
crests  being  placed  on  the  same  neck  in  order  to  avoid  interference  and  to  har- 
monize with  the  paired  jaws  at  each  end  of  the  motive.  The  outlining  black 
color  is  entirely  wanting.  In  the  next  illustration  (fig.  218)  both  nuchal  crests 
are  lacking,  but  the  setting  of  black  reappears.  The  teeth  in  each  mouth  are  in- 
dicated in  a  highly  diagrammatic  fashion. 


THE  ALLIGATOR  GROUP. 


131 


A  series  of  motives,  each  representig  the  double-headed  alligator,  is  seen  in 
figure  219.  The  unmistakable  elements  are :  the  downward  swing  of  the  body- 
line,  which  is  angular  instead  of  curved :  scale  motives  in  the  first  two ;  and 
spine  motives  in  all,  those  in  a  being  particularly  characteristic.  These  four  tracings 
are  from  one  vase,  filling  a  narrow  zone  on  its  shoulder. 


a  ted 

Fig.  2 19  a— d. — Series  of  motives,  each  representing  the  double-headed  alligator.     V* 

In  figure  220,  there  is  a  separate  body-curve  for  each  alligator;  in  the  hollow 
of  each  curve  is  a  dash  of  paint  to  represent  the  body-markings,  distinct  scale 
motives  being  attached  to  two  of  the  three.  The  design  in  figure  221  is  similar 
but  more  simplified.  The  four  strokes  of  the  brush  at  each  bend  in  the  compound 
body-line  seem  to  suggest  the  union  of  four  separate  alligator  motives,  just  as 
the  preceding  figure  suggests  three. 


Fig.  220. — Multiple  alligator  motive.    'I* 


Fig.  22:. — Simplified    multiple  alligator 
motive.     '/' 


Figure  222  probably  represents  two  body-lines  combined,  each  being  accompanied 
by  a  single  scale  symbol.  The  body-curves  of  two  alligators  are  often  joined  in 
such  a  manner  as  to  form  a  sigmoid  curve,  as  in  figure  223,  a  simple  type  in 
which  the  scale  motives  are  left  out. 

In  figure  224  there  is  a  simple  horizontal  body-curve,  with  a  distinct  differentia- 
tion of  head  and  tail,  and  with  a  spot  in  the  hollow  of  the  curve  to  indicate  the 
dermal  markings  —  in  other  words,  the  alligator  is  in  profile.  This  is  an  excellent 
example  of  conventionalism  by  means  of  a  wholesale  reduction  and  simplification 
of  parts  —  conventionalism  that  has  reached  the  hieroglyphic  stage.  How  easy 
it  would  have  been  to  make  use  of  this  readily  executed  symbol  in  a  system  of 


Fig.  225. 


Fig.  222. 


Fig.  223. 


Fig.  224. 


Fig.  222. — Detail  probably  representing  two  body-lines,  each  with  a  single  scale  symbol.     V" 

Fig.  223. — Sigmoid  curve  representing  two  body-curves.     */' 

Fig.  224. — Conventionalized  alligator  in  profile  ;   hieroglyphic  stage.     !'> 

Fig.  225. — Wholesale    reduction  and  simplification  of  the  alligator  in  profile.     'I' 

writing  as  did  the  ancient  Egyptians,  for  example.  It  could  have  stood  for  the 
word  alligator  or  for  some  attribute  of  that  animal.  There  is  however  no  evidence 
that  the  ancient  Chiriquians  made  any  such  use  of  it.  They  were  content  ap- 
parently to  employ  this  symbol  in  a  decorative  and  ceremonial  sense  only.  The 
spine  motive  and  the  scale-group  motive,  both  of  which  have  already  been  described. 


132  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

could  also  have  been  employed  as  hieroglyphs  combined  with  or  in  place  of  the 
motive  representing  the  whole  animal. 

Wholesale  reduction  and  simplification  of  the  profile  view  of  the  alligator  is 
seen  in  figure  225  :  nothing  being  left  but  the  body-line,  which  is  produced  by  a 
short  stroke  of  the  brush.  This  form  of  the  alligator  motive  usually  occurs  in 
series,  the  alternate  units  being  inverted. 

Familiarity  with  the  foregoing  illustrations  from  tracings  will  make  it  possible 
to  follow  the  rapidly  progressive  steps  in  the  process  of  conventionalization 
portrayed  in  Plate  XXXIV.  Both  duplication  and  elimination  are  noted  in 
figure  a.  There  is  a  head,  for  example,  at  either  end  of  the  common  body, 
and,  for  lack  of  space,  only  one  is  provided  with  a  nuchal  appendage.  The 
eyes  and  teeth  are  placed  in  an  angle  below  each  lower  jaw.  The  space  on  the 
right,  being  larger,  is  filled  in  with  three  black  spots  instead  of  one.  The 
black  outlines  are  broken  at  all  the  ends  of  the  red  framework,  while  in  places 
they  are  doubled.  The  design  on  the  opposite  side  is  practically  the  same  except 
that  the  nuchal  appendage  is  more  conspicuous.  A  similar  conception  of  the 
alligator  motive  may  be  seen  in  figure  i,  except  that  it  is  treated  in  a  still  more 
summary  fashion.  The  nuchal  appendage  has  disappeared  entirely,  but  the  curve 
of  the  back  that  is  common  to  both  heads  is  quite  characteristic.  This  small 
vase  is  slightly  angular  at  the  periphery. 

The  vase  reproduced  in  figure  c  is  divided  into  zones.  The  lower  is  red.  The 
upper  is  outlined  by  two  red  bands.  Within  these  are  two  black  bands,  which 
in  turn  limit  the  field  containing  the  symbols  of  life  forms,  the  latter  also  in  black 
on  a  pale  yellow  paste.  The  neck  is  unadorned,  while  the  lip  and  inner  surface 
of  the  aperture  are  finished  in  a  red  pigment.  The  characteristic  curve  of  the  back 
is  to  be  noted  in  the  alligator  motives.  Fore-  and  hind-feet  point  in  the  same 
direction ;  otherwise  it  would  be  impossible  to  distinguish  the  head  from  the  tail. 
In  one  instance,  the  body-line  of  the  alligator  takes  the  form  of  a  simple  scroll. 
Two  dorsal-view  motives  serve  to  divide  this  narrow  zone  into  two  panels. 

An  interesting  vase  from  Divala  is  shown  in  figure  d.  The  lower  zone  is  red. 
The  black  and  red  bands  and  the  alligator  motives  (in  black)  of  the  upper  zone 
are  on  a  pale  yellow  slip,  which  is  continuous  over  the  neck.  The  lip  and  inner 
surface  of  the  aperture  are  finished  in  red.  A  series  of  alligator  motives,  all 
essentially  alike,  but  illustrating  progressive  reduction  and  elimination  of  parts 
is  carried  around  the  shoulder  in  a  continuous  panel  (see  fig.  219). 

In  figure  e,  the  horizontal  plane  of  greatest  diameter  is  situated  much  nearer 
the  neck  than  is  usual  for  this  group.  The  broad  lower  zone  is  red.  The  black 
and  red  bands  of  the  upper  zone  enclose  two  panels.  Each  of  these  is  filled  by 
a  row  of  alligator  symbols  in  black.  The  ends  of  the  body-line  are  folded  back 
until  they  almost  meet.  Within  are  spots  (two  to  four)  representing  the  dermal 
markings.  The  alternate  motives  are  inverted.  This  is  also  true  of  figure  /,  where 
simplification  and  general  reduction  reach  their  limit,  the  abbreviated  body  not 
being  accompanied  by  markings  of  any  kind. 

The  significance  of  some  of  the  zonal  shoulder  decorations  in  Plate  XXXV  is 
more  or  less  problematical.  The  alligator  motive  is  recognizable  in  figure  a. 
Two  or  three  body-lines  are  united,  the  free  ends  being  treated  as  heads.  Sec- 


THE  ALLIGATOR  GROUP. 


133 


ondary  curved  lines  fill  in  the  remaining  spaces  between  the  upper  and  lower 
boundary  lines.  This  design  is  repeated  three  times  with  but  slight  variations. 
A  similar  motive  is  seen  in  figure  6,  where  there  is  an  additional  body-curve  in 
each  group,  and  the  design  itself  is  simplified. 

The  elaborate  motive  on  the  shoulder  of  the  vase  reproduced  in  figure  c  is 
referable  to  the  alligator,  the  spine  symbols  being  easily  recognizable.  It  is 
repeated  on  the  opposite  side  with  some  modification  (fig.  226  a).  Alternating 
with  these  are  much  smaller  and  simpler  alligator  motives  (fig.  2266  and  c).  The 


a  be 

Fig.  226  a—  c.  —  Conventionalized  alligator  designs.     ''« 

narrow  shoulder  zone  in  figure  d  is  divided  into  two  panels,  each  being  ornamented 
with  the  dorsal-view  motive  —  three  parallel  lines,  the  outer  ones  bearing  spines  along 
their  external  margins.  The  decorative  motive  in  figure  e  may  be  a  variant  of  the 
same  thing.  The  shoulder  of  one  vase  (fig.  _/)  is  decorated  with  concentric  rings. 
These  are  variously  connected  so  as  to  form  pairs  ;  in  one  instance  there  is  a  single 
group,  attached  to  the  outer  ring  of  which  are  two  spirals  obviously  representing  the 
second  group.  The  relationship  between  spirals  and  concentric  rings  in  Egyptian 
art  has  been  pointed  out  by  Goodyear.1 


Kig.  227. — Vase  whose  shoulder  zone  includes  six 
arched  panels  filled  with  scale  symbols ;  from 
Divala.  Alligator  ware,  '/a 


Fig.  228. — Vase  whose  three  arched  panels  arc  asso- 
ciated with  scale  motives.     Alligator  ware.     '/» 


It  has  been  noted  that  the  curved  band  representing  the  body-line  of  the  al- 
ligator is  usually  accompanied  by  spots,  used  as  scale  symbols.  This  combination 
is  seen  in  figure  227,  a  vase  from  Divala.  The  narrow  shoulder  zone  includes  six 
small  arched  panels,  each  filled  with  spots.  The  alternating  spaces  are  undecorated. 
A  similar  motive  is  seen  in  other  specimens,  where  the  arched  panels  are 

1  Wm.  H.  Goodyear.     Grammar  of  the  lotus,  PI.  VIII.  London,  1891. 


134 


A  STUDY  OF  CHIRIQU1AN  ANTIQUITIES. 


reduced  to  three,  alternating  with  wider  intervening  open  spaces.  The  same 
though  somewhat  more  elaborate  motive  is  reproduced  in  figure  228.  Here  the 
intimate  association  of  the  scale  symbols  with  the  curved  bands  representing  the  body 
is  suggestive.  There  is  plenty  of  room  for  the  spots  in  the  center  of  these  enclosed 
fields,  but  they  cling  everywhere  so  closely  to  the  boundaries  as  to  appear  like  half-disks. 
Three  arched  panels  with  decorated  intervening  areas  also  occur  in  figure  a  of 
Plate  XXXVI,  the  design  in  each  arched  panel  being  the  dorsal-view  motive. 
Freedom  in  the  treatment  of  the  arched  panel  runs  through  the  entire  series 
represented  in  this  plate.  The  arched  panels  are  quite  large  in  figure  6,  the  spaces 
between  them  and  surrounding  the  neck  being  in  the  color  of  the  slip.  Each  panel 
enclosed  two  groups  of  concentric  triangles,  the  angles  of  the  inner  ones  being 
marked  with  dotted  dentals ;  the  whole  panel  decoration  is  a  variation  of  the  dorsal- 
view  motive.  The  suggestive  association  of  spots  and  crossed  zigzag  bands  is  shown 
in  figure  c,  each  band  being  a  multiple  body-line  accompanied  by  dermal  markings. 
There  is  a  multiplication  of  the  arched  bands  tangent  to  the  neck  in  figure  d,  a 


Fig.  229. — Vase  having  but  two  arched  panels  in  which 
scale-  and  spine-motives  are  grouped  ;  from  Divala. 
Alligator  ware.  *'• 


Fig.  230. — Double-necked  vase  with  the  dorsal-view 
motive  as  a  panel  decoration  ;  from  Bugavita.  Al- 
ligator ware.  '/• 


vase  from  Divala.  What  remains  of  the  enclosed  field  is  crossed  by  six  short 
vertical  bands,  the  outer  ones  bearing  lateral  spines  —  a  typical  example  of  the 
dorsal-view  motive.  This  vase  and  the  three  preceding  (a,  b  and  c)  are  highly 
characteristic  of  the  alligator  ware  in  regard  to  paste,  slip,  form  and  decoration. 
The  two  vases  (both  from  Divala)  represented  in  figures  e  and  /  are  perhaps  not 
so  typical,  except  for  the  character  of  the  black  and  red  paint  used  and  the  treat- 
ment of  the  arched  panels.  The  slip  is  thinner  and  of  a  duller  hue.  Both  the 
neck  and  the  lower  zone  are  treated  to  a  coat  of  red,  leaving  the  slip  to  show 
only  on  the  shoulder.  The  short  vertical  bands  crossing  each  panel  in  figure  e 
are  accompanied  by  dotted  dentals  (the  scale-group  motive).  This  combination 
represents  a  section  of  the  alligator's  body  viewed  from  above,  as  first  noted  in 
the  lost  color  ware  (see  PI.  XXXI).  The  panel  decorations  in  figures  a,  b.  f  and 
e  are  variants  of  the  same  motive. 


THE  ALLIGATOR  GROUP. 


135 


The  number  of  arched  panels  is  reduced  to  two  in  figure  229,  reproducing  a 
vase  from  Divala.  The  three  divisions  of  each  panel  are  ornamented  with  spine- 
and  scale-symbols.  One  of  the  two  characteristic  types  of  dorsal-view  motives 
is  seen  in  the  two  panel  decorations  on  the  shoulder  of  a  double-necked  vase 
from  Bugavita  (fig.  230) ;  the  other  type  is  the  design  on  the  shoulder  zone 
in  figure  231,  which  alternates  with  quadrangular  panels  in  red.  The  decorative 


Fig.  231. — Vase  in  which  the  dorsal-view  motive 
alternates  with  quadrangular  panels.  Alligator 
ware.  '/> 


Fig.  232. — Vase  with    alligator   motives   on   lip    and 
shoulder.     Alligator  ware.     'I* 


Fig.  233. — Vase  in  which  the  alligator   motives   are 
obscure.     Alligator  ware,     'h 


Fig.  234.  — Vase   with    obscure    alligator   motives   on 
lip  and  shoulder.     Alligator  ware.     ''« 


motives  running  through  a  series  of  small  vases  (figs.  232-236)  consist  of  the 
diagrammatic  use  of  the  elements  of  these  two  types,  as  well  as  the  profile  view 
of  the  body-line,  either  compound  (fig.  235)  or  simple  (fig.  236).  The  latter  motive 
is  often  repeated  three  times  on  the  lip  (figs.  232,  235,  236). 

There  is  a  series  of  vases  belonging  to  the  alligator  ware  in  which  the  decora- 
tion consists  of  four  rosettes  painted  on  the  shoulder  and  unaccompanied  by  arched 


136 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


panels  or  horizontal  bands  (PL  XXXVII,  with  the  exception  of  fig.  a).  The 
rosettes  are  usually  composed  of  triangles,  spots,  and  a  cross,  in  varying  combination, 
all  of  which  may  be  referred  to  elements  of  a  life  form,  presumably  the  alligator. 
The  painted  designs  are  placed  on  slightly  raised  nodes  apparently  produced  by 
pressure  from  within  of  the  middle  finger  tip. 

In  a  small  vase  from  Bugativa  (fig.  i),  the  outer  circle  of  the  design  is  red ; 
the  inner,  black.  Within  are  two  spotted  triangular  fields,  separated  by  a  spool- 
shaped  space  in  red.  On  the  lip,  directly  above  each  rosette,  is  an  alligator 
motive  consisting  of  the  body  device  of  curved  and  red  bands  accompanied  by  spots 
on  the  concave  side  only.  This  style  of  lip  decoration  is  confined  to  the  smaller 
vases.  The  rosettes  of  figure  c  are  each  bounded  by  three  circles,  the  middle 
one  only  being  red.  The  field  within  is  almost  completely  filled  by  three  triangles 


Fig.  235. — Vase  with  alligator  motives  on  lip  and 
multiple  body-line  as  a  panel  decoration.  Alli- 
gator ware.  */» 


Fig.   236. —  Vase  with  simple  body-line  motives  on 
shoulder  and  lip.      Alligator  ware.     !/» 


bearing  spots  (the  scale-group  symbol).  The  triangles  are  disengaged  from  the 
inner  circle  in  figure  d,  and  the  interspace  is  marked  by  a  cross.  The  nodes  are 
scarcely  perceptible  in  figure  e,  and  the  number  of  concentric  rings  is  reduced 
to  two,  the  inner  one  enclosing  a  cross  surrounded  by  four  triangles.  The  nodes 
are  very  much  exaggerated  in  figure  /,  and  are  not  produced  by  pressure  from 
within,  but  are  applied  to  the  outer  surface.  The  inner  circle  is  again  marked 
by  a  cross  and  the  intervening  spaces  by  triangles.  The  various  stages  in  the 
transition  from  the  rosette  to  the  cross  are  represented  in  the  collection.  In  one 
vase  the  cross  alone  remains,  a  typical  Greek  cross  with  foundation  in  red  and 
outlines  in  black.  The  same  disposition  of  the  two  colors  has  already  been  noted 
in  the  more  elaborate  representations  of  the  alligator. 

Plastic  features  applied  to  the  shoulders  of  vases  belonging  to  the  alligator 
group  are  comparatively  rare.  A  representative  series  is  given  in  Plate  XXXVIII. 
Painted  ornament  accompanies  the  relief,  but  the  two  do  not  necessarily  refer  to 
the  same  animal.  The  plastic  elements  in  figure  a,  a  vase  from  Divala,  consist 
of  a  head  frankly  human,  balanced  on  the  opposite  side  by  a  short  upturned 
animal  tail.  Alternating  with  these  features  on  either  side  is  the  painted  representa- 


THE  ALLIGATOR  GROUP.  137 

tion  of  an  alligator  in  black  and  red,  with  its  characteristic  hooked  snout,  bunched 
dermal  markings  and  pronounced  body-curve ;  toes,  teeth  and  eye  are  all  indicated. 
The  recurved  lip  and  angular  outlines  of  this  vase  are  unusual  for  this  group. 

The  alligator  type  of  ware  is  followed  closely  in  the  outlines  of  figure  b.  The 
two  relief  ornaments  are  placed  on  a  level  with  the  union  of  neck  and  shoulder. 
Both  are  marked  by  two  cross  bands  of  black  and  are  alike  in  shape  and  size, 
probably  representing  two  tails  instead  of  two  heads.  Alternating  with  these,  but 
lower  on  the  shoulder,  are  two  reptilian  forms,  probably  the  alligator,  executed  in  red 
and  black.  The  treatment  is  unique,  the  view  being  dorsal  or  ventral  instead  of  the 
lateral  aspect  or  profile.  All  four  legs  are  represented,  but  there  is  some  doubt 
as  to  which  is  the  head  and  which  the  tail.  The  designs  on  the  opposite  sides 
are  practically  identical.  The  painting  was  done  on  a  polished  yellow  surface. 
Paste  of  a  lighter  color  was  afterwards  spread  over  the  entire  surface  of  the  vase, 
except  these  painted  portions. 

The  two  plastic  heads  are  unmistakable  in  figure  c.  The  outlines  of  the  alli- 
gator painted  on  the  shoulder  of  the  vase  are  angular,  with  the  exception  of  the 


Fig-  237.— Vase    with     shoulder    panels     showing  Fig.   238.— Vase  with   small    vertical   loop-handles 

obscure     multiple     body-line,     accompanied     by  and  the  alligator  motive  as  a  shoulder  decoration, 

body-markings.     Alligator  ware.     '/»  Alligator  ware.     '/> 

dorsal  curve.  Another  step  in  the  diagrammatic  treatment  of  the  alligator  form,  a 
common  body  with  a  head  at  each  end,  is  shown  in  figure  «!,  where  the  black  con- 
tour lines  are  broken  at  the  angles.  A  similar  angular  motive  consisting  only  of 
the  red  foundation  occurs  in  figure  e.  The  two  prominent  nuchal  appendages  are 
both  placed  on  the  same  neck  so  as  to  balance  the  pair  of  jaws  at  either  end  of 
the  figure.  Scale-  and  spine-symbols  are  wanting.  The  animal  head  and  tail,  as 
relief  features,  are  reduced  to  mere  nodes  in  figure  /.  Reaching  from  head  to  tail 
on  either  side,  is  a  panel  that  contains  a  multiple  body-line  in  red.  Accompanying 
this  line  are  the  usual  dermal  markings  in  the  hollow  of  each  body-curve. 

The  identity  of  the  body-line  is  somewhat  obscure  in  figure  237.  It  takes  a 
zigzag  course  through  the  center  of  the  shoulder  panel,  is  broken  at  the  angles 
and  everywhere  accompanied  by  dotted  dentals  representing  body-markings. 
Vertical  loop-handles,  as  seen  here,  are  •  of  rare  occurrence  in  the  alligator  group. 
In  figure  238  the  two  small  handles  represent  an  animal  head  and  neck.  The 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  18 


138 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Fig   239. — Vase  without  neck,  the  relief  ornaments  being 
two  opposed  animal  heads.     Alligator  ware.     '/« 


nose  is  slightly  upturned  and  teeth  are  visible  in  the  open  mouth.  The  two 
panels  on  the  shoulder  of  the  vase  are  filled  in  with  scale-group  symbols  '  seg- 
ments of  circles  enclosing  dots.'  Above  each  panel  is  a  row  of  similar  markings. 
There  are  a  few  vessels  without  necks.  Such,  for  example,  is  the  one  rep- 
resented in  figure  239.  Two  animal  heads  on  opposite  sides  constitute  the  relief 
ornament.  The  rows  of  dots  in  the  small  open  fields  of  the  alternating  panels 
are  all  that  is  left  to  suggest  the  alligator.  In  another  vessel  of  similar  type  (fig.  240), 

the  panels  are  arched  and  between  them 
appear  in  relief  the  head  and  tail  of 
some  reptilian  form,  the  tail  being 
turned  to  one  side. 

Vessels  of  this  group  mounted  as 
tripods  are  comparatively  rare.  The 
tripod  supports  are  usually  short,  solid, 
pointed  cones  that  are  marked  j)y 
horizontal  black  bands,  as  seen  in 
Plate  XXXIX,  where  the  variations  in 
the  form  of  the  body  are  also  fairly 
well  indicated.  In  figure  a,  a  vase  from 
El  Banco,  the  neck  is  quite  short.  The 
shoulder  decoration  consists  of  three 
panels,  each  bearing  a  series  of  scale- 
group  symbols.  Each  of  the  two  ho- 
rizontal panels  in  figure  b  are  double. 
The  four  smaller  black  panels  in  a 
framework  of  red  are  all  treated  in  prac- 
tically the  same  manner  —  a  triangular 
(or  trapezoidal)  space  in  the  middle  and 
a  trapezoid  at  either  end,  the  three  open 
fields  thus  formed  being  decorated  with 
scale-  and  spine-symbols. 

Only  spine  symbols  decorate  the 
neck  of  a  wide-mouthed  tripod  vase 
from  Jacu  (fig.  c).  These  are  sharply 
recurved  and  distributed  in  pairs,  rising  from  the  upper  one  of  three  black 
bands  that  surround  the  neck.  Between  the  second  and  third  band  is  a  broad 
red  band.  Even  less  easily  interpreted  are  the  spine  symbols  in  figure  d,  a  shal- 
low tripod  bowl  from  Divala.  The  visible  interiors  of  shallow  bowls  are  usually 
painted,  this  one  being  an  exception.  It  is  somewhat  more  highly  polished 
than  the  exterior,  and  the  slip,  if  used  at  all,  must  have  been  very  thin.  The  rim 
is  painted  red.  Below  it,  on  the  outer  surface,  are  two  black  bands.  Next  comes 
a  red  band,  hanging  from  which  is  a  series  of  spine  symbols  in  black.  The  latter 
would  be  inexplicable  but  for  the  use  of  the  same  motive  in  other  connections. 
The  legs  are  banded,  as  usual,  and  probably  represent  life  forms. 

The  bowl  of  a  tripod  from  Divala  (fig:  e)   is  not  so   shallow  as  the  preceding, 
and  the  rim,  being  gently  incurved,  does  not  mark  the  level  of  the  greatest  hori- 


Fig.  240. — Necklessvase  with  dorsal-view  alligator  motive 
as  a  panel  decoration.     Alligator  ware.     */' 


THE  ALLIGATOR  GROUP.  139 

zontal  diameter.  Nevertheless  the  interior  is  painted  red.  The  lip  and  outer  sur- 
face, except  the  delineating  colors,  are  finished  in  a  thick  coat  of  cream  slip.  The 
zone  between  the  rim  and  the  base  of  the  supports  is  banded  horizontally  and 
divided  into  three  panels,  each  of  which  contains  scroll  patterns,  whole  as  well 
as  broken.  In  figure  /  we  have  once  more  the  attractive  shoulder  decoration 
consisting  of  three  arched  panels  (see  PI.  XXXVI).  The  well-preserved  red  and 
black  delineating  colors  have  an  effective  background  in  the  generous  use  of  a 
pale  yellow  slip. 

A  number  of  the  tripods  combine  plastic  and  relief  decoration,  as  may  be  seen 
in  Plate  XL.  The  head  and  tail  are  applied  to  the  shoulder  of  the  vase  without 
affecting  the  general  globular  form  of  the  body,  which  is  nevertheless  intended 
to  take  the  place  of  the  animal  body.  The  identity  of  the  animal  representation 
in  the  round  can  not  always  be  determined  with  certainty.  It  may  or  may  not 
refer  to  the  same  animal  as  the  accompanying  forms  executed  in  color.  This  is 
probably  the  case  in  figure  a.  The  life  form  painted  on  either  side  is  the  alligator, 
with  the  characteristic  attitude  of  the  jaws,  nuchal  appendage  and  downward  curve 
of  the  body. 

Somewhat  similar  in  general  outline  as  well  as  decoration  is  the  tripod  vase 
represented  in  figure  b.  The  life  form  in  the  round  may  be  the  alligator,  partic- 
ularly since  there  are  two  painted  scale  symbols  on  the  back  of  the  head.  This 
view  is  strengthened  by  the  fact  that  the  two  alligators  painted  on  the  sides  are 
oriented  in  such  a  manner  as  to  correspond  to  the  form  in  relief,  i.  e.,  all  three  heads 
are  pointing  in  the  same  direction.  The  tendency  of  the  artist  if  not  restrained  by 
other  considerations  is  to  paint  an  animal  form  on  one  side,  and  after  revolving 
the  vase  until  the  opposite  side  appears,  paint  the  second  figure  exactly  as  he 
did  the  first.  The  two  thus  form  a  procession.  This  is  true  in  almost  every  in- 
stance, but  is  not  in  case  of  this  specimen  where  the  two  painted  life  forms,  if 
they  could  move  forward  would  meet  each  other,  instead  of  falling  one  behind 
the  other.  The  typical  features  of  the  alligator  are  emphasized  in  both. 

There  is  a  peculiar  combination  of  relief  and  painted  decoration  in  figure  c. 
The  relief  portions  of  this  vase  consist  of  a  simplified  head  with  longitudinal  black 
bands ;  eyes  (or  breasts)  set  far  apart  and  surrounded  by  black  circles ;  long 
curved  fillets  of  clay  representing  eyebrows,  or  arms,  edged  with  black  bands  and 
also  marked  by  cross  bands;  and,  on  the  opposite  side,  a  similar  fillet  to  represent 
the  tail.  This  is  straight,  being  carried  from  the  neck  of  the  vase  downward  to 
the  level  of  its  greatest  horizontal  circumference.  The  head  and  eyes  in  relief 
are  supplemented  by  painted  representations  of  toothed  jaws  on  either  side  of 
a  median  plane.  The  throat  is  painted  red ;  which  color  is  also  carried  downward 
on  the  shoulder  of  the  vase  like  a  bib  or  apron.  Between  the  tail  and  the  curved 
eyebrow  (or  arm)  on  each  side  are  panels,  both  containing  representations  in 
black  of  the  alligator.  One  of  these  (fig.  241  a)  is  unmistakable,  with  its  upturned 
snout  and  long  nuchal  appendage  which,  like  the  head,  back  and  tail,  carries  a 
series  of  scale  symbols.  The  lower  jaw  serves  as  a  foreleg.  The  other  (fig.  241  b') 
could  not  be  recognized  but  for  its  association  with  this  particular  class  of  ware. 

Figure  d  presents  no  original  features.  The  sculptured  head  and  tail  (the  latter 
bent  sidewise)  are  not  distinctive.  The  two  panels  are  decorated  with  scale-group 


140  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

symbols.  The  smallest  vessel  of  this  group  (tig.  e]  is  but  45  millimeters  in  height, 
with  a  capacity  of  less  than  20  cubic  centimeters.  A  compound  tripod  with  two 
of  the  six  legs  eliminated  is  shown  in  figure  /.  There  is  no  connection  between 
the  interior  of  the  two  vessels.  The  most  interesting  part  of  their  decoration  con- 
sists of  a  series  of  alligator  motives  about  the  two  rims  —  the  downward  curving 
body-line  with  a  single  dot  above. 

A  number  of  unusual  forms  are  brought  together  in  Plate  XLI.  Figure  a  comes 
very  near  to  being  a  complete  zoomorphic  unit.  It  is  a  tripod  instead  of  a 
quadruped,  with  two  legs  in  front  and  but  one  leg  behind,  which  is  in  a  median 
plane.  The  tail  forms  a  vertically  placed  loop-handle,  emerging  from  underneath 
the  carapace  to  fuse  with  the  hindleg.  The  legs  are  marked  with  parallel  trans- 
verse lines  in  black,  suggesting  the  carapace  motive,  in  which  case  each  leg 
would  represent  an  armadillo.  The  head  is  well  defined,  the  nose  being  pointed 
downward  as  if  to  reach  the  ground.  The  ears  are  represented  in  the  round  as 
well  as  by  means  of  black  paint ;  the  eyes,  by  paint  alone  —  a  black  circle  on 
cream  slip  surrounding  a  black  spot.  The  carapace,  like  the  ears,  is  represented 


a  b 

Figure  241  a,  b. — Designs  representing  conventionalized  alligators.     '/' 

both  in  the  round  and  in  color.  Its  anterior  and  posterior  regions  are  marked 
by  black  spots  on  the  cream  slip.  The  banded  character  of  the  middle  region  is 
indicated  by  transverse  parallel  lines  in  alternating  groups  of  black  and  red.  The 
circular  aperture  cuts  all  three  regions  of  the  carapace ;  its  margin  or  rim  is 
painted  red.  The  black  spots  on  top  of  the  head  also  represent  dermal  armor. 
The  vessel  is  covered  inside  and  outside  by  a  uniform  slip  over  which  the  delin- 
eating colors  are  applied,  except  on  the  interior  and  the  outer  ventral  surface. 
The  alligator  motive  is  entirely  wanting. 

There  is  nothing  to  suggest  the  alligator  in  figure  b,  unless  it  is  the  dotted 
dentals  on  the  tripod  supports.  The  latter  represent  animal  heads,  are  hollow  and 
supplied  with  pellets.  The  periphery  of  the  vase  is  decorated  with  eight  prominent 
crablike  spines  and  what  is  probably  intended  for  a  head. 

A  broken  vase  from  San  Carlos,  eighteen  miles  northwest  of  David,  is  repro- 
duced in  figure  c.  With  the  broken  part  has  disappeared  the  tail  and  body  of 
a  large  painting  of  an  alligator  that  occupied  the  rear  panel,  leaving  only  the 
head  and  nuchal  appendage,  with  spine  symbols.  A  fragment  carrying  a  short 
tail  in  the  round  to  match  the  head  opposite  has  been  preserved  also  among  the 
fragments.  In  front  is  an  apron-shaped  field  covered  with  ocellated  markings 
resembling  the  coat  of  the  jaguar.  At  the  top,  this  apron  is  cut  so  as  to  fit 
about  the  neck  of  an  animal,  probably  the  jaguar,  with  wide-open  mouth  showing 


THE  ALLIGATOR  GROUP.  141 

canine  teeth,  and  at  the  sides  it  is  so  cut  as  to  leave  free  the  arms  that 
are  set  akimbo.  The  whole  evidently  represents  the  jaguar-man  or,  to  be  more 
exact,  the  jaguar-god  (see  also  fig.  244).  The  two  tripod  supports  in  front  are 
alike,  but  differ  in  shape  from  the  one  behind.  A  similar  somewhat  smaller  spec- 
imen from  Mercedes,  Costa  Rica,  belongs  to  Mr.  Minor  C.  Keith. 

Another  vase  not  at  all  typical  of  this  group  is  reproduced  in  figure  d.  The 
life  features  in  the  round  consist  of  a  head  with  wide-open  mouth,  probably  the 
jaguar :  below  which  is  a  semicircular  apron-like  pattern,  a  drooping  tail  and  rather 
long  arms  that  hang  free  from  the  body,  each  hand  resting  on  the  base  of  a 
tripod  support.  One  arm  is  lost.  Much  of  the  paint  has  disappeared ;  the  highly 
original  design  on  the  neck  however  is  still  practically  complete. 

A  thick-walled  and  thick-lipped  bowl  from  Jacu  (fig.  e)  is  provided  with  an 
annular  base- — the  only  example  of  this  type  in  the  group.  The  base  and  the 
interior  are  painted  red.  The  lip  and  outer  surface  of  the  body  are  finished  in  a 
pale  yellow  slip.  A  series  of  dotted  triangles,  or  scale-group  symbols,  in  black 
encircles  the  vessel. 

The  form  reproduced  in  figure  /  is  unique.  A  small  shallow  cup  with  vertical 
walls  is  supported  by  three  grotesque  half-human  forms,  whose  feet  rest  on  a 
ring-shaped  base  and  whose  extended  arms  help  to  bear  the  weight  of  the  cup. 
Three  panels  decorated  with  alligator  motives  alternate  with  the  heads  of  the 
supporting  figures.  The  kinship  between  this  form  and  the  so-called  stools  made 
of  stone  (see  PL  IV),  as  well  as  modeled  in  clay  (see  PL  XL VI),  is  striking,  the 
main  difference  being  that  the  cup  is  replaced  by  a  slightly  concave  seat  plate. 

Another  conception  of  the  use  of  engaged,  plastic  life  forms  as  supports  for 
vessels  is  illustrated  in  Plate  XLII  (fig.  c).  This  vase  is  one  of  the  gems  of  the 
de  Zeltner  collection  and  was  given  to  him  by  Senor  Obaldia,  formerly  Vice-Presi- 
dent of  New  Granada.  It  was  first  inadequately  figured  and  described  by  de  Zeltner  l 
and  later  mentioned  by  Holmes  when  describing  a  piece  somewhat  similar,  though 
neither  so  large  nor  so  perfect.  The  Yale  specimen  is  39.3  centimeters  long, 
28.5  centimeters  in  height  and  18.5  centimeters  in  breadth. 

The  bottom  is  perfectly  flat,  in  outline  like  an  ellipse  flattened  a  little  at  the 
sides.  The  latter  rise  almost  vertically  to  meet  the  flattened  shoulders  at  an  angle. 
The  neck  is  long,  round  in  section  and  gracefully  flaring.  The  supporting  forms 
at  either  end  are  apparently  human  and  of  the  female  sex.  Their  bodies  are  an 
integral  part  of  the  body  of  the  vase,  the  wall  being  pushed  out  to  form  a  prom- 
inent abdominal  protuberance.  The  head,  rising  from  the  angle  at  the  shoulder 
and  gently  inclined  forward,  is  crowned  and  hollow,  the  long  transverse  slit  at 
the  top  communicating  with  the  interior  of  the  vase.  The  features  are  all  ren- 
dered plastically  and  emphasized  by  paint.  The  outline  of  the  rim  of  the  ear  is 
characteristically  human.  The  bulging  eyes  are  protected  by  prominent  brows. 
The  nose  resembles  the  beak  of  a  bird,  which  was  the  Chiriquian's  favorite  model 
for  the  human  nose,  as  noted  on  a  preceding  page.  Some  of  the  features  are 
seen  to  better  advantage  in  figure  242.  The  parted  lips,  oval  in  outline,  reveal 
three  long  incisor  teeth.  The  feet  are  three-toed  and  in  the  sole  of  each  there 

1  Note  sur  les  indiens  du  departement  de  Chiriqui,  8,  1866. 


142 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


is  a  round  perforation  communicating  with  the  interior  of  the  hollow  leg.  Atten- 
tion is  called  to  the  painted,  tongue-shaped  breast  ornament,  reaching  down  well 
over  the  abdominal  protuberance.  A  similar  ornament  is  noted  elsewhere  in  this 
group  (see  fig.  244). 

The  long  panels  on  either  side  are  ornamented 
with  a  superb  example  of  the  two-headed  al- 
ligator. The  dermal  markings  on  one  head  and 
neck  being  the  same  as  a  decorative  motive 
on  the  crown  of  each  female  head  (fig.  242). 
The  neck  of  the  vessel,  resembling  in  shape 
an  inverted  bell,  is  surrounded  by  four  panels, 
each  filled  with  an  excellent  figure  of  the  al- 
ligator, one  of  which  is  reproduced  in  figure  243. 
The  execution  of  the  painted  designs  is  equal 
to  the  skill  displayed  in  the  modeling. 

The  rare  specimen  reproduced  in  figure  244 
is  a  fantastic  combination  of  feline,  serpentine 
and  human  characters,  and  serves  as  a  rattle 
or  a  receptacle  at  will.  It  is  complete  barring 
a  small  chip  off  one  heel,  revealing  the  nature 
and  color  of  the  paste,  which  is  red  throughout, 
the  hue  deepening  from  the  surface  inward. 
The  slip  is  the  usual  pale  yellow. 

The  body,  legs  and  arms  are  human,  excepting 
the  hands,  which  are  converted  into  serpent  heads 
by  means  of  a  terminal  slit  for  the  mouth  and 
black  spots  for  eyes.  The  feet  are  nondescript, 
the  prolongation  of  the  heels  being  equal  to  that 
of  the.  toes.  The  same  type  of  foot  is  used 
for  birds,  which  makes  possible  the  erect  posture 
for  biped  figurines.  For  that  reason  this  par- 
ticular specimen  was  catalogued  by  de  Zeltner 
as  figure  debout  simply.  But  it  is  in  more  stable 
equilibrium  when  lying  on  its  back,  in  which 
position  the  greatly  distended  stomach  and  chest, 
in  the  shape  of  a  hollow,  truncated  cone,  serves 
as  a  vessel. 

The  head  is  apparently  that  of  the  jaguar, 
Felis  onca;  or  perhaps  the  ocelot  (Mex.  ocelotlj, 
Felis  pardalis.  The  mouth  is  open,  the  lips 


Fig.  242. 


Fig-  243' 

Fig.  242. — Elaborate  vase  supported  by  human 
figures  ;  end  view  (see  Plate  XLII,  fig.  c). 
Alligator  ware.  '/> 

Fig.  243. — One  of  the  alligator  figures  dec- 
orating the  neck  of  the  preceding  vase.  */> 


being  drawn  back  to  reveal  the  teeth.  The 
upper  and  lower  rows  are  separated  by  hori- 
zontal openings  in  the  region  of  the  molars  and  of  the  incisors.  The  overlapping 
of  the  long  canines  is  admirably  indicated  by  two  teeth  on  either  side  that  reach 
from  the  upper  to  the  lower  alveoles.  Perforations  representing  the  nostrils  and 
the  external  auditory  openings  also  communicate  with  the  hollow  interior  of  the 


THE  ALLIGATOR  GROUP. 


143 


head,  which  is  supplied  with   pellets.     The  head  therefore  functions  as  a  rattle. 
The  neck  is  perforated  transversely  as  if  for  suspension. 

The  peculiar  throat  and  chest  decoration  in  red,  and  reaching  down  to  the 
level  of  the  mammae,  has  already  been  noted  (see  fig.  242).  It  may  mean  an 
element  of  ceremonial  apparel.  This  is  probably  the  jaguar-god  (see  also  PI.  XLI, 
fig.  c).  The  now  familiar  scale-group  motive  of  dotted  triangles,  and  also  me- 
anders accompanied  by  dots,  is  distributed  over  the  various  parts.  The  decorator 


Fig.   244 a,  b.  —Jaguar-god  ornamented  with  alligator  motives  and  serving  both  as    rattle   and  receptacle. 
Alligator  ware.     V" 

may  or  may  not  have  had  the  alligator  in  mind  when  finishing  this  particular 
piece.  The  origin  of  the  motive  however  is  beyond  question,  whether  the  artist 
was  conscious  of  it  or  not. 

The  happy  fusion  of  vase  and  animal  form  is  shown  in  Plate  XLIII  (figs,  a 
and  b).  The  legs  differ  in  no  way  from  the  simple  tripod  support,  except  that 
they  are  four  in  number.  This  is  more  a  concession  to  the  maintenance  of  the 
zoomorphic  idea  than  to  any  thought  of  achieving  a  satisfactory  state  of  equi- 
librium. To  the  primitive  workman,  the  three-point  support  has  much  in  its  favor, 
no  delicate  adjustment  of  leg  length  being  necessary.  All  three  feet  touch  the 
supporting  surface  immediately  and  firmly,  whether  it  be  plane  or  undulating. 
On  the  other  hand,  when  four  legs  are  employed,  one  is  almost  always  worse 
than  useless  because  too  short  to  take  its  portion  of  the  weight,  which  but  for 


144 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


the  presence  of  the  worthless  member  might  have  been  easily  distributed  among 
the  other  three.  This  probably  accounts  for  the  prevalence  of  the  tripod. 

The  globular  body  of  the  vase  becomes  the  trunk  of  a  jaguar  by  the  addition 
of  the  head  and  tail  of  that  animal.  They  are  both  hollow,  thus  adding  much 
to  the  capacity  of  the  vessel  as  a  whole.  The  external  contour  lines  are  exceed- 
ingly graphic.  The  surface  of  the  interior  is  everywhere  smoothed  down  with 
care,  especial  attention  being  given  to  contact  lines  at  the  base  of  neck  and  of 
tail.  The  features  of  the  head  are  in  relief,  which  is  strengthened  by  the  judicious 
use  of  paint.  The  thick  lips  are  parted,  both  rows  of  teeth  being  visible.  The 
four  overlapping  canines  seem  to  reach  from  the  upper  to  the  lower  jaw  as  in 
other  representations  of  the  dentition  of  the  jaguar  (PI.  XLI,  fig.  c;  also  text-fig. 
244).  The  fields  of  black  spots  about  the  eyes  and  on  the  throat  evidently  have 
reference  to  the  markings  of  the  jaguar's  skin.  This  is  not  true  however  of  the 
remarkable  series  of  patterns  that  cover  the  top  of  the  head,  the  neck,  sides,  and 
tail  to  its  tip,  except  the  under  surface,  which  like  the  belly  is  unmarked  by 
delineating  colors. 

There  are  89  panels,  no  two  being  alike  in  size  and  shape.  They  approximate 
squares,  rectangles,  trapezoids,  trapezia  and  triangles.  The  outlines  of  the  pattern 
follow  those  of  the  containing  panel.  The  markings  of  the  inner  field  include 
lines  that  meet  or  cross  each  other,  sometimes  forming  simple  or  compressed 
meanders.  These  lines  and  meanders  are  always  accompanied  by  dots  on  one 
or  both  sides.  In  a  few  small  panels,  dots  only  are  to  be  found.  There  are  no 
circles  or  dotted  circles.  In  other  words,  these  panel  patterns  have  no  reference 
to  the  markings  on  the  jaguar's  skin.  They  are  repetitions,  with  variations,  of  the 
well-known  alligator  motive.  The  panels  themselves  may  be  a  concession  to  the 
ocellated  patches  on  the  jaguar's  coat,  but  there  the  comparison  ends. 

In  an  outline  drawing,  Holmes  l  figures  a  vase  of  the  alligator  group,  with 
shoulder  zone  divided  into  panels  that  enclose  somewhat  similar  patterns,  except 
that  dots  are  used  sparingly  and  in  a  few  instances  the  characteristic  plumelike 
spine  symbol  is  recognized.  These  devices  originated  in  the  alligator  motive. 
Holmes  did  not  refer  them  to  the  alligator,  although  he  believed  them  to  have 
"  features  suggesting  a  pictorial  original  and  doubtless  derived  from  one."  The 
same  writer  raises  the  question  whether  these  ancient  peoples  might  not  have 
been  "  supplied,  through  the  conventionalizing  agencies  of  the  art.  with  devices 
that  could  have  been  employed  as  ideograms  and  letters." 

A  dorsal  view  (fig.  b)  of  this  interesting  piece  impressses  one  not  only  with 
the  variety  of  the  patterns,  but  also  with  the  skill  displayed  in  the  arrangement 
of  the  panels.  Luckily  for  the  artistic  effect  of  the  whole,  bilateral  symmetry  was 
not  thought  of  or  else  was  studiously  avoided. 

The  bowl  of  the  vessel  is  completely  lost  in  the  body  of  the  animal,  when  we 
come  to  such  examples  as  the  one  reproduced  in  figure  c,  where  only  the  neck 
and  rim  emerge  above  the  animal's  back.  The  tapir  is  chosen  for  representation, 
probably  Tapirus  bairdii,  since  this  species  is  known  to  exist  in  Panama.  The 
specimen  is  carefully  finished.  The  short  tail  and  legs,  as  well  as  the  long  pro- 

1  Op.  cit,  fig.  284  (see  also  fig.  285). 


THE  ALLIGATOR  GROUP. 


145 


boscis,  are  characteristic.  The  mouth  is  open  enough  to  reveal  two  rows  of  short 
teeth,  all  of  the  same  pattern.  Perforations  for  the  external  auditory  openings 
communicate  with  the  hollow  interior  of  the  head.  The  neck  is  solid.  The  use 
of  the  delineating  colors  is  out  of  the  ordinary,  black  instead  of  red  being  the 
more  freely  employed,  especially  for  the  broader  bands  and  areas.  The  painted 
designs  have  nothing  to  do  with  the  skin  markings  of  the  tapir.  The  origin  of 
the  motives  is  traceable  to  the  alligator,  although  the  choice  of  them  in  this  in- 
stance may  have  been  without  any  special  significance  other  than  decorative. 
There  is  no  decoration  on  the  ventral  surface,  from  the  chin  to  the  end  of  the  tail. 

The  insignificant  tail  and 
projecting  buttocks  of  the 
tapir  are  well  characterized 
in  figure  245.  The  end  of 
the  proboscis  has  been 
broken  off.  The  hollow 
head  and  neck  add  con- 
siderably to  the  capacity 
of  the  vessel,  the  rim  of 
which  rises  from  the  back 
of  the  animal  figure.  The 
free  use  of  black,  as  in 
the  preceding  example,  is 
to  be  noted  in  the  decora- 
tion. Longitudinal  panels 
reaching  from  the  head  to 
the  tail  enclose  the  alli- 
gator motives.  Attached 
to  this  specimen  was  a  note  in  the  handwriting  of  the  collector  as  follows :  - 


Fig.  245. — Zoomorphic  vessel  representing  the  tapir  and  ornamented  with 
alligator  motives.     Alligator  ware.     '/» 


Jan.  1878.  '  Vivala!  This  huacal  (waucal)  seems  to  be  continuous  for  miles  along  river 
of  same  name.  Graves  vary  from  3  to  12  feet  deep,  a  very  few  having  gold.  Many 
contain  nothing  desirable;  others,  1  to  15  or  16  pieces,  mainly  pottery.  J.  A.  McNiel. 

The  Yale  collection  includes  a  number  of  rare  bird  forms  that  present  some 
very  interesting  characters.  As  far  as  I  have  been  able  to  ascertain,  complete 
examples  of  this  kind  are  not  to  be  found  in  any  other  collection.  The  largest 
of  these  (fig.  246)  is  from  Divala.  It  is  first  of  all  a  vessel,  the  globular  form  of 
the  body  not  being  even  masked  by  the  addition  of  ornithomorphic  characters. 
Instead  of  two  legs,  there  is  a  low  annular  support  approximating  in  size  that  of  the 
circular  rim  at  the  mouth  opening,  the  latter  being  gently  flaring  and  painted  red. 

The  bird's  head,  which  unfortunately  is  broken  off,  was  placed  rather  low  on 
the  shoulder  at  a  short  distance  above  the  plane  of  greatest  horizontal  diameter  of 
the  vase.  Its  shape  and  size  can  not  be  determined  beyond  the  certainty  that  it 
could  not  well  have  been  relatively  large  without  a  greater  distention  of  the  sur- 
face contour  of  the  body  at  its  base.  The  wings  and  tail  are  in  nearly  the  same 
horizontal  plane  as  was  the  head,  the  wing  attachment  reaching  from  near  the 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  19 


146 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Fig.  246. 


head  almost  to  the  root  of  the  tail.     The  length  of  the  short  tail  is  the  same  as 

the  spread  of  the  wings. 

The   base   of  the   missing  head   is  surrounded   by    two   black  circles  that  are 

cut  at  the  top  by  the  lower  of 
two  horizontal  black  circles. 
Below  these  are  black  and  red 
zonal  bands,  interrupted  only 
by  the  head  space.  The  tail 
and  wing  feathers  are  indicated 
by  black  parallel  bands  that 
are  partially  lost,  owing  to 
the  crumbling  away  of  the 
underlying  slip.  The  breast 
is  decorated  with  an  original 
design  in  black  that  evinces 
brush-work  skill  of  a  rather 
high  order.  The  walls  of  the 
vase  are  thick  and  the  rela- 
tively fine-grained,  rich  red 
paste  is  tenacious.  An  at- 
tempt to  mend  the  break  that 
caused  the  loss  of  the  bird's 
head  was  made  by  using  a 
black  substance  that  may 
possibly  be  the  same  material 
as  the  body  of  the  black  paint 
employed  in  one  of  the  de- 
lineating colors.  On  analysis, 
the  substance  proves  to  be 
pine  pitch,  which  might  well 
be  one,  at  least,  of  the  ingre- 
dients in  the  black  paint  be- 
cause of  its  adhesive  qualities 
as  well  as  of  its  color.  Other 
possible  blacks  are  oxide  of 
manganese,  charcoal  and  soot. 
According  to  Mr.  C.  V.  Hart- 
man,1  the  native  women  of 
Izalco,  Salvador,  decorate 
their  calabash  vessels  with  a 
paint,  the  black  color  of  which 
is  derived  from  powdered 
charcoal. 
The  bird  form  is  somewhat  more  pronounced  in  figure  247,  although  the  ad- 


Fig.  247. 

Fig.  246. — Globular  vessel  representing  a  bird,  a  low  annular  support 
taking  the  place  of  feet ;  from  Divala.  Alligator  ware.  '/' 

Fig.  247. —  Ornithomorphic  vessel  decorated  with  scale-group  and  spine 
motives.  Alligator  ware.  '/« 


1  Die  Baumkalebasse  im  tropischen  Amerika.     Boas  anniversary  volume,  203,  1906. 


THE  ALLIGATOR  GROUP. 


147 


dition  of  avian  characters,  such  as  two  feet,  wings  and  horizontal  spreading  tail, 
does  not  alter  the  globular  form  of  the  vessel.  The  legs  are  quite  short  and  so 
placed  as  to  combine  with  the  relatively  large  flat-bottomed  feet  in  giving  to  the 
figure  a  certain  degree  of  equilibrium.  The  feet  are  spread  equally  at  the  heel  and 
toe,  the  number  of  the  toes  not  being  indicated.  This  is  the  typical  bipedal  form  of 
foot  and  is  found  also  in  human  figurines.  The  spread  of  the  tail  is  about  equal 
to  that  of  the  wings.  Both  are  more  highly  differentiated  than  in  the  preceding 
vase,  and  are  directed  upward  as  if  in  flight.  The  wings  are  only  partially  ex- 
tended as  if  the  bird  were  in  the  act  of  alighting,  and  the  backward  pointing  tips 
are  truncate.  The  head,  for- 
tunately preserved  in  this  case, 
is  a  mere  lump  of  clay  situated 
on  the  periphery  and  propor- 
tionately smaller  than  the  head 
in  the  foregoing  example. 

The  neck  of  the  vessel  is 
much  more  constricted  than  in 
the  former  example.  Its  walls 
are  vertical  and  cut  square  at  the 
top.  The  rim  is  painted  red 
and  there  are  two  black  hor- 
izontal bands  about  the  neck. 
Had  it  been  left  undecorated 
and  had  there  been  no  other 
provision  for  a  head,  one  might 
be  led  to  suppose  that  the 
latter  was  a  separate  piece  made 
to  fit  over  the  neck.  But  such 
was  not  the  case.  The  whole 
is  complete  as  it  stands.  On 
the  shoulder  is  a  narrow  zone 
decorated  with  scale-group  (al- 
ligator) motives.  A  black  paint 
was  smeared  on  the  upper  sur- 
face of  wings  and  tail.  The 
head  protuberance  is  painted 

red  and  surrounded  by  a  black  band,  outside  of  which  is  an  irregular  circle  of 
scale-  and  spine-symbols.  The  short  legs  are  marked  on  the  outside  by  two  hor- 
izontal black  bands.  The  rest  of  the  outer  surface  is  finished  in  a  cream-colored 
slip.  This  form  is  of  special  significance  as  being  a  connecting  link  between  the 
foregoing  bird  form  (with  annular  base,  indifferent  wings  and  tail,  and  rather  wide 
aperture  with  flaring  lip)  and  those  that  are  to  follow. 

The  next  step  leads  to  the  disappearance  of  the  painted  lump  on  the  breast 
that  served  as  a  head  and  the  appearance  of  a  more  or  less  realistic,  removable 
head  that  fits  over  the  aperture  and  undecorated  neck  at  the  summit  of  the  ve- 
sicular body  (fig.  248).  The  latter  is  spheroidal  as  in  the  last  figure,  but  the  wings 


Fig.   248. — Bird    form    with    realistic    removable   head, 
ware.     '/» 


Alligator 


148 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


and  tail  are  treated  in  a  different  manner.     The  wings  are  fused  into  the  tail  and 
are  only  slightly  in  relief,  being  indicated  in  a  large  measure  by  means  of  paint. 

The  chief  delineating 
color  here,  as  also  on 
head  and  legs,  is  black  ; 
the  red  is  used  for  mas- 
ses (on  feet,  ear-tufts 
and  beak)  and  for  fill- 
ing in.  The  scale- 
group  motive  is  freely 
employed  on  head  and 
neck,  wings  and  tail. 
The  ear-tufts  suggest 
the  owl,  but  the  beak 
and  the  short  square 
tail  are  more  like  those 
of  the  parrot.  When 
compared  with  the 
head  ornaments  of 
gold  and  stone  images 
of  the  parrot,  these  ear- 
tufts  are  straightway 
clothed  with  new  signif- 
icance the  explanation 
of  which  is  suggested 
on  page  221.  Among 
the  whistles  in  the  shape 
of  birds,  a  majority  rep- 
resent the  parrot,  rarely 
however  with  ear-tufts. 
It  is  probable  that  the 
bird  forms  with  remo- 
vable heads  also  rep- 
resent the  parrot.  The 
separation  of  the  lower 
mandible  from  the  up- 
per is  generally  in- 
dicated by  a  slit.  The 
eyes  are  in  rather  low 
relief,  outlined  in  black 
paint.  The  neck  near 
its  base  is  perforated 
transversely  (see  fig. 
2496).  There  are  al- 

Fig.  249  ;  a. — Elaborate  bird  form  with  removable    head  and  ornamented  with        go    fWQ     cOrrCSDOndinp" 
dorsal-view   motives.     Alligator  ware.     '/' ;    b. — Diagram    showing    mode    of 
stringing  neck  and  body  for  suspension.  holes  in  the   top  of  the 


THE  ALLIGATOR  GROUP. 


149 


hollow  head  in  front  of  the  ear-tufts  and  somewhat  nearer  the  median  plane,  making 
it  possible  to  tie  the  head  fast  to  the  neck  and  if  need  be  to  suspend  the  com- 
pleted bird  form.  The  highly  polished  cream-colored  slip  on  the  throat,  neck 
and  body  is  nowhere  marked  by  delineating  colors. 

A  similar,  and  in  some  respects  superior,  type  is  reproduced  in  figure  249  a. 
The  beautifully  turned  body  is  somewhat  longer  than  broad  and  thus  just  fails 
of  being  a  spheroid.  The  tail,  beak 
and  the  ear-tufts  are  longer;  and  the 
wings  are  in  higher  relief,  their  tips 
uniting  in  a  median  plane  over  the 
base  of  the  tail;  the  carpal  angles  stand 
out  prominently.  The  long  sharply 
curved  beak  has  been  broken  at  the  end. 
The  eyes  as  in  the  foregoing  are  in 
rather  low  relief  and  outlined  in  black 
paint.  There  is  a  similar  set  of  holes 
at  the  base  of  the  neck  and  in  the  top 
of  the  head.  Three  short  toes  are  in- 
dicated on  each  foot.  The  flat  sole  is 
pierced  by  a  hole  that  extends  vertically 
upward  for  a  distance  of  15  millimeters 
into  the  short  solid  leg.  On  the 
contrary,  the  rather  long  legs  of  the 
preceding  figure  were  hollow  and  slit 
vertically  on  the  inside. 

The  paste  in  all  these  bird  forms  is 
alike  —  a  deep  red,  in  which  the  white 
grains  of  the  tempering  material  are 
more  or  less  conspicuous.  The  slip  is 
a  light  cream.  The  latter,  in  the  spec- 
imen under  consideration,  is  not  quite 
adhesive  enough  to  hold  firmly  the 
delineating  colors,  the  result  being  that 
the  decoration  on  the  head,  wings,  feet 
and  upper  surface  of  the  tail  is  marred 
by  the  scaling  off  of  the  paint.  Here 
again  black  is  the  chief  delineating  color, 
the  characteristic  alligator  motive  being 
executed  in  it  alone;  while  the  red  was 

used  for  masses  and  filling  in.  The  design  in  black  on  the  wings  is  the  dorsal- 
view  alligator  motive  similar  to  that  on  the  shoulder  of  the  vase  reproduced  in 
figure  230.  Practically  the  same  motive  is  found  on  the  head  and  upper  surface 
of  the  tail. 

The  use  of  these  bird  forms  with  removable  heads  is  problematical.  The 
broad  flat  feet  give  comparative  stability.  On  the  other  hand,  they  may  have 
been  suspended  by  means  of  a  cord  that  passed  through  the  four  holes  in  the 


Fig.  25050:. — Vase  showing  elaborate  and  highly  conven- 
tionalized use  of  alligator  motive  ;fromDivala.  Alligator 
ware.  ')2 ;  6. — Panel  design  on  the  opposite  side. 


150 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


neck  and  head.  In  the  specimen  belonging  to  the  Yale  collection,  these  holes 
do  not  show  any  distinct  trace  of  wear.  By  passing  a  cord  in  through  one  of 
the  neck  holes,  up  and  out  through  the  hole  in  the  head  on  the  same  side,  down 
through  the  other  head  hole  and  out  through  the  remaining  neck  hole  (fig.  249  6), 

the  free  ends  can  be  tied  together, 
thus  making  the  head  fast  to  the 
body  ;  and  if  long  enough  they  can 
be  tied  to  a  bracket,  the  head  and 
trunk  being  held  securely  together 
by  the  weight  of  the  latter. 

Of  these  bird  forms,  the  first  two 
described  were  collected  by  McNiel 
and  the  last  two  by  de  Zeltner. 
With  the  latter's  collection  there 
came  also  a  third  head  but  no  cor- 
responding body.  As  has  been  said, 
the  paste  in  all  is  a  deep  red  similar 
to  that  of  the  polychrome  group  to 
be  described  later.  The  character 
of  brush-work  in  the  largest  (see 
fig.  246)  is  not  unlike  that  in  the 
polychrome  group. 

The  discussion  of  the  alligator 
ware  ends  with  a  description  of  three 
vases  having  characters  that  deviate 
somewhat  from  the  general  type  in 
point  of  form  and  material,  as  well 
as  in  the  general  character  of  the 
painted  designs.  But  they  are,  never- 
theless, more  nearly  related  to  the 
typical  alligator  ware  than  to  any 
other. 

In  figure  250  a,  reproducing  a  vase 
from  Divala,  the  paste  is  coarse  and 
the  modeling  crude.  There  is  a 
rather  sharp  angle  between  neck 
and  shoulder,  instead  of  the  blend- 
ing of  the  contour  lines  so  charac- 
teristic of  the  alligator  group.  The 
usual  pale  yellow  slip  does  not  seem 
to  have  been  employed.  On  the 
other  hand,  the  ground  color  is  every- 
where red.  The  delineating  colors 
are  white  and  black,  the  white  being 
applied  as  a  thick  layer.  It  has  scaled  off  in  places,  leaving  the  paste  of  the 
walls  bare.  The  black  seems  to  have  been  used  for  outlining  and  for  filling 


Fig.  251. 


Fig.  252. 


decoration.      Alligator 


Fig.  251. — Vase     with    problematical 
ware.     '/> 

Fig.  252. — Vase  combining  features  of  alligator  and  lost  color 
groups,  the  dorsal-view  motive  occurring  on  the  peripheral 
band  and  those  tangent  to  the  neck.  Alligator  ware.  '/> 


THE  POLYCHROME  GROUP.  151 

in  small  interspaces.  The  red  was  employed  for  a  like  purpose  in  addition  to  its 
use  as  a  ground  color,  pure  and  simple.  The  order  of  application  was  evidently 
white,  black  and  red. 

The  shoulder  zone  is  divided  into  two  panels  by  means  of  alternating,  vertical 
black  and  white  bands.  The  design  in  each  'panel  is  reptilian  and  presumably 
represents  one  and  the  same  animal,  although  to  one  is  given  four  legs,  each 
terminating  in  three  toes,  while  the  other  is  legless  (fig.  250  b).  The  body  is 
serpentine  in  both,  and  the  head  more  or  less  sharply  defined. 

The  second  of  these  vases  (fig.  251)  is  in  every  respect  more  characteristic 
of  the  alligator  ware.  The  design  is  executed  in  black  and  red  on  a  pale  yellow 
slip.  Its  meaning  is  problematical.  The  lines  of  the  drawing  are  somewhat 
similar  to  those  on  the  preceding  vase.  The  neck  and  lower  half  of  the  body 
are  finished  in  red. 

The  last  vase  (fig.  252)  combines  certain  features  of  the  alligator-  and  lost  color- 
groups,  respectively.  It  may  be  recalled  that  in  the  lost  color  ware  an  oft-repeated 
scheme  of  decoration  was  the  division  of  the  body  into  two  zones  by  a  horizontal 
peripheral  band  and  a  subdivision  of  the  upper  zone  into  panels  by  means  of 
bands  tangent  to  the  neck  on  either  side.  The  same  scheme  is  followed  here, 
but  the  colors  and  their  method  of  application  are  those  of  the  alligator  ware. 
The  bands  are  pale  yellow  (slip)  slightly  tinged  with  red,  while  the  lower  zone 
and  the  panels  of  the  upper  are  red.  The  bands  are  everywhere  outlined  in 
black  and  are  crossed  by  parallel  slanting  black  lines  in  groups  of  three,  rep- 
resenting the  body  of  the  alligator,  with  spines  projecting  on  either  side  —  in 
other  words,  the  dorsal-view  motive.  This  specimen  is  from  Corredor. 


THE  POLYCHROME  GROUP. 

To  the  Yale  collection  belong  six  specimens  of  the  polychrome  group,  called 
by  Holmes  "  the  most  artistic  of  the  wares  of  Chiriqui."  This  ware  is  remarkable 
for  its  rarity  as  well  as  its  refinement  and  beauty  of  ornamentation.  The  National 
Museum  possesses  only  three  examples  and  from  one  of  these  the  purple  color, 
the  distinguishing  character  of  the  group,  has  been  left  out.  In  the  Peabody 
Museum  of  Harvard  University,  there  is  a  single  specimen  of  what  might  be  called 
polychrome  ware,  but  here  also  the  purple  color  is  lacking.  On  the  other  hand, 
purple  is  one  of  the  delineating  colors  in  all  six  of  the  Yale  specimens. 

While  perfectly  distinct  as  a  group,  the  polychrome  ware  is  more  closely  akin 
to  the  alligator  ware  than  to  any  other.  It  may  be  recalled  that  in  the  alligator 
group  the  delineating  colors  were  black  and  red,  black  being  used  for  contours 
and  red  more  especially  for  filling  in.  This  is  also  true  of  the  polychrome  ware. 
The  slip  in  both  is  practically  the  same,  except  that  it  has  a  more  distinctly 
salmon  tint  in  some  polychrome  pieces.  In  the  latter,  the  paste  is  a  dark  red, 
similar  to  that  in  the  bird  forms  of  the  alligator  group  already  noted  (pp.  145-49) 
and  also  to  that  in  a  class  of  whistles  and  figurines  to  be  described  later,  though 
belonging  to  the  alligator  ware.  Certain  decorative  motives  are  also  common  to 
both.  In  point  of  form  however  there  is  a  distinct  divergence  from  the  tripods 


152  A  STUDY  OF  CHIRIQU1AN  ANTIQUITIES. 

and  round-bottomed  vases,  especially  the  latter,  so  common  in  the  alligator  group. 
With  two  exceptions,  these  are  entirely  wanting,  and  in  their  stead  appear  highly 
differentiated  forms  with  annular  bases  that  are  sometimes  developed  into  tall 
hollow  stands. 

The  series  begins  with  a  pitcher-shaped  vase  from  Gualaca  (PI.  XLIV,  fig.  a). 
The  body,  which  is  flattened  uniformly  above  and  below,  is  supported  by  a  low 
annular  base  and  surmounted  by  a  neck  that  is  gently  flaring  and  not  provided 
with  a  spout.  The  pronounced  and  horizontally  flattened  lip  is  damaged  by 
weathering  and  chipping.  The  handle,  which  was  attached  to  it  and  to  the  shoulder 
below,  is  entirely  gone.  The  ascending  ramus  of  the  handle  was  pegged  to  the 
shoulder,  as  indicated  by  an  empty  hole.  To  be  in  harmony  with  the  main  out- 
lines of  the  vessel,  the  horizontal  ramus  of  the  handle  must  have  met  the  ascend- 
ing branch  at  an  angle  of  less  than  90°.  This  is  true  of  the  handle  of  a  pitcher 

(cat.  no.  j^g)  in  the  Peabody  Museum  of  Harvard  Uni- 
versity, that  belongs  evidently  to  the  polycrome  group, 
although  no  purple  was  used  in  the  decoration  of  the 
vessel.  Neither  is  the  form  of  the  latter  so  pleasing. 

The  Yale  specimen  is  somewhat  damaged  from  weather- 
ing.    The  paste  is  much  lighter   in   color  than  that  of 
the  other  specimens,  a  fact  due  partly  to  bleaching.    The 
entire  surface  was  coated  with  a  pale  yellow  slip,   over 
which  the   designs    were    executed    in    black,   red    and 
purple.     A  broad  red  band   encircles   the    annular    base 
and   the    neck  constriction.     These   are  joined  by  four 
broad  longitudinal  bands,  alternating  in  purple  and  red, 
Fig.  253.— Sigmoid   scroll   in        one   being  in   line   with   the  handle.     A  narrow  purple 
which  the  alligator  motive        fe     d   surrounds   the    base    of  the   handle.     In  the  four 

appears  as  simply  cut  out  of 

the  black  band  where  it  is        panels    thus   formed    and    on  the  neck,   black  alone  is 
broadest  ^(see  Plate  XLIV,        employed.     Three  bands,  two  black  and  one  red,  dec- 
orate the  lip.     The  orifice  is  unpainted. 

The  attention  is  at  once  fixed  upon  the  ornate  scrolls  of  the  panels  (fig.  253), 
all  of  which  are  approximately  the  same,  except  that  of  the  two  facing  the  handle ; 
one  is  of  necessity  left-handed  and  both  are  slightly  modified  to  make  room  for 
the  base  of  the  handle.  The  ingenuity  displayed  in  adapting  the  motive  to  the 
space  at  hand,  the  training  of  the  eye  and  the  delicacy  of  touch  are  all 
marvelous.  The  scroll  ornament  is  carried  horizontally  about  the  neck,  one  and 
one-half  units  of  the  motive  being  required  to  fill  the  space  to  be  decorated 
(fig.  254).  The  oval  notches  cut  from  the  body  of  the  scroll  at  intervals  where 
the  black  band  would  be  broadest  evidently  mean  something  more  than  a  mere 
effort  to  relieve  the  pattern  of  broad  black  areas.  They  are  highly  conventionalized 
alligator  motives  of  the  profile  variety,  with  the  dermal  markings  not  represented. 
In  the  last  illustration  (fig.  254),  two  of  the  motives  are  not  completely  fused  with 
the  mass  of  the  scroll;  the  body-line  is  visibile  for  a  short  distance  near  its 
center.  The  specimen  in  the  Harvard  University  collection  is  decorated  with 
a  similar  branching  scroll  that  completely  encircles  the  body  of  the  vessel. 
Beginning  at  a  point  beneath  the  handle,  it  is  developed  in  both  directions  until 


THE  POLYCHROME  GROUP. 


153 


Fig-   254- 


the  two  arms  unequal  in  length  meet  and  fuse.     The  alligator  motives  represented 
by  oval  notches  are  distributed  precisely  as  in  the  Yale  example. 

A  round-bottomed  vase  is  reproduced  in  figure  255.  The  nearly  spherical  lower 
half  is  given  a  uniform  coat  of  red.  The  orifice  is  also  painted  red.  The  over- 
hanging lip  and  short  neck  are  banded  with  red  and  black.  The  decoration  on 
the  flattened  upper  zone  consists  of  an  animal  head  and  tail  in  relief  and  painted 
panels  on  either  side.  The  panel  motive  is  precisely  the  same  as  that  on  the 
neck  of  the  pitcher 
from  Gualaca  (see  fig. 
254),  except  that  the 
details  are  more  elab- 
orate and  the  execution 
is  of  a  higher  order, 
three  colors  also  being 
used  instead  of  one. 
Here  again  it  takes  one 
and  one-half  units  of 
the  motive  to  fill  the 
long  panel.  The  ter- 
minal half -units  are 
bilaterally  symmetrical, 
the  end  of  the  scroll 
in  each  case  being 
purple  outlined  in 
black.  The  somewhat 
abbreviated  central 
half-unit  terminates  in 
a  red  coil  instead  of 
a  purple.  This  half 
taken  with  the  one  on 
the  right  completes  a 
sigmoid  scroll.  In  other 
words,  the  growth  of 
the  scroll  complex  is 


Fig.  254. — Branching  scroll  in  which  two  of  the  alligator  motives  (notches) 
are  partially  differentiated  (see  Plate  XLIV,  fig.  a),  '/« 

Fig.  255. — Vase  with  elaborate  branching  scroll  from  which  the  alligator  mo- 
tives are  partially  detached  and  accompanied  by  dots  and  circles  representing 
body-markings.  Polychrome  ware.  'I' 


from  right  to  left,  as 
it  was  of  that  on  the 
neck  of  the  pitcher.  In 
this  instance,  the  oval 
notches  of  figure  254 

become  so  much  more  highly  differentiated  as  scarcely  to  be  recognizable. 
Fortunately  the  two  upper  median  ones  serve  as  a  connecting  link  between  the 
simpler  form  as  seen  on  the  pitcher  and  the  partially  detached  form  employed  at 
the  lower  corners,  for  example.  Each  one  represents  the  body-line  of  the  alligator, 
and  the  accompanying  dotted  ovals  stand  for  the  dermal  markings.  The  panel 
decoration  on  the  opposite  side  is  almost  completely  weathered  away.  Judging 
from  what  remains,  it  was  the  exact  counterpart  of  the  one  illustrated.  In  con- 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  20 


154  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

ception,  execution,  balance  and  symbolism,  this  scroll  is  indeed  a  masterpiece, 
one  that  baffles  the  skill  of  a  modern  artist  to  copy  faithfully. 

The  next  vase  (PL  XLIV,  fig.  &)  in  the  series  is  in  perfect  condition.  The  form 
though  eccentric  is  graceful.  The  usual  annular  base  is  present.  The  lower  half 
of  the  oval  body  is  finished  in  what  might  be  called  a  red  (light  maroon)  slip. 
The  same  finish  is  given  to  the  orifice  and  neck.  Below  and  encircling  the  latter 
is  a  broad  band  of  a  brighter  red ;  the  same  that  is  used  as  a  delineating  color. 
On  the  upper  zone  and  at  each  end  of  the  oval  body  is  a  bovine'  head  in  relief, 
turned  to  the  right  at  an  angle  of  90°.  The  hollow  interiors  of  the  two  heads 
communicate  with  that  of  the  main  body  of  the  vase.  Alternating  with  these 
heads  are  two  long  panels  painted  over  a  salmon-colored  slip.  The  black  frames 
for  the  panels  are  bounded  above  and  below  by  continuous  black  bands  and 
beneath  the  lower  of  these  is  a  bright  red  band  bordering  on  a  dark  red  slip. 
The  colors  therefore  consist  of  two  shades  of  red,  pale  salmon,  black  and  purple. 

The  panel  design  is  the  same  as  in  the  two  preceding  —  a  highly  ornamental 
running  scroll,  four  half-units  being  employed  on  one  side  and  six  on  the 
other.  The  growth  of  the  scroll  however  is  from  left  to  right  in  both  panels ; 
the  reverse  of  that  noted  in  the  foregoing  examples.  Beginning  also  with  a 
sigmoid  scroll,  it  grows  in  a  natural  way  by  budding  or  branching  instead'  of 
by  a  series  of  interlocked  S's  —  in  other  words,  it  might  be  called  the  direct  or 
branching  scroll  as  opposed  to  the  interlocked  or  reverse  type,  otherwise  known  as 
the  Vitruvian  scroll.  The  volutes  are  tipped  with  purple  and  red  alternately.  The 
characteristic  alligator  motive  is  woven  into  the  design  as  was  noted  in  the  preced- 
ing examples.  The  decorative  motive  on  the  body  of  the  previously  mentioned 
pitcher  belonging  to  the  Peabody  Museum  of  Harvard  University  is  also  the 
branching  scroll,  similar  to  that  seen  in  figure  254. 

The  features  of  the  two  heads  in  relief  are  emphasized  by  the  skilful  use  of  red 
and  black  colors  over  a  salmon  slip.  Of  special  interest  is  the  treatment  of  the 
black  bands  over  the  eyes,  giving  to  the  slip  the  effect  of  a  delineating  color.  At- 
tention should  also  be  called  to  the  shading  of  the  muzzle  by  means  of  black  lines. 

The  use  of  the  scroll  or  spiral  ornament  is  not  confined  to  any  particular  land 
or  people.  It  has  developed  in  various  centers  and  at  various  times  and  has  been 
spread  over  the  face  of  the  earth  both  by  borrowing  contemporaries^  and  by 
descendants.  Many  attempts  have  been  made  to  trace  its  origin.  In  Egypt,  it 
is  supposed  to  have  come  from  the  curling  sepals  of  the  lotus1  and  to  have  been 
carried  with  the  Egyptian  civilization  into  Europe.  In  our  own  country  it  reached 
a  high  degree  of  development  in  the  lower  Mississippi  valley  and  in  the  pueblo 
region  of  the  Southwest.  Holmes2  would  trace  the  origin  of  the  scroll  to  the 
coiled  fillet  of  clay  with  which  the  potter  began  his  vessel ;  to  the  basket-maker's 
platted  or  twisted  splints  of  wood ;  to  the  spire  of  a  conch-shell,  or  to  the  linear 
representation  of  waves  of  water. 

Of  the  two  types  of  scrollwork  (each  with  its  variants),  the  classic  Vitruvian 
or  reverse  scroll  and  the  direct  or  branching  scroll,  the  latter  would  seem  to 

1  Op.  cit. 

2  W.  H.  Holmes,  Origin  and  development  of  form  and  ornament  in  ceramic  art.     Fourth 
ann.  rept.,  Bur.  ethnol.,  456,  1882- '83. 


THE  POLYCHROME  GROUP. 


155 


be  the  more  primitive  and  appears  to  have  been  the  favorite  among  the  ancient 
Chiriquian  potters.  The  single  S  was  used,  to  be  sure,  but  not  a  series  of  inter- 
locked S's  to  form  a  current  scroll  of  the  reverse  type. 

The  branching  scroll  is  apparently  of  much  less  frequent  occurrence  than  the 
reverse  scroll.  With  the  exception  of  Chiriqui,  it  is  rarely  seen  in  the  art  of  the 
Western  hemisphere.  Riegl l  figures 
examples  of  it  from  Rhodes,  Greece, 
Pompeii  and  Syria.  These  are  practically 
all  outspoken  representations  from  the 
plant  world.  On  the  other  hand,  the 
Chiriquian  branching  scroll  bears  no  re- 
semblance to  any  plant  except  in  the 
manner  of  its  growth,  as  suggested  by 
its  name.  The  motive  bears  the  stamp 
of  originality  in  all  its  details  and  may 
justly  be  called  Chiriquian. 

A  rare  form  of  vase  is  illustrated  in 
figure  256.  It  was  one  of 'the  few  selected 
by  deZeltner2  for  illustration;  his  photo- 
graph, however,  is  not  only  very  small 
but  is  also  lacking  in  detail.  Using  de 
Zeltner's  diminutive  photograph  as  a 
guide,  Holmes3  attempted  to  reproduce 
it  by  means  of  a  drawing,  which  is  un- 
avoidably inexact.  At  that  time  Holmes 
had  not  seen  the  original.  In  shape,  it 
is  like  an  elongated  bell  resting  on  a 
shallow  bowl.  As  usual,  the  support  is 
annular  and  the  lip  projects  but  slightly 
above  the  flat  angular  shoulder.  The 
decorated  zones  are  bounded  by  hori- 
zontal bands  applied  in  groups  of  three, 

consisting  of  a  red  band  between  two  black  ones  of  unequal  breadth.  The  upper 
zone  is  divided  into  four  panels  by  means  of  two  pairs  of  triple  vertical  bands. 
The  two  larger  panels  are  ornamented  with  a  sort  of  fretwork,  the  design  being 
approximately  the  same  in  each.  The  outlines  are  in  narrow  bands  of  black. 
The  filling  is  done  in  purple,  except  at  the  ends,  where  it  is  red.  The  derivation 
of  this  motive  is  presumably  the  same  as  that  of  the  sigmoid  scroll,  i.  e.,  from 
the  united  body-lines  of  two  alligators. 

The  chief  interest  attaches  to  the  motive  already  familiar  by  reason  of  its  as- 
sociation with  the  foregoing  examples  of  branching  scrollwork  (see  text-figs.  253-255 
and  PI.  XLIV).  Here  it  is  repeated  eight  times  in  order  to  fill  the  lower  zone, 
and  is  completely  detached  from  the  branching  scoll,  which  is  left  to  be  supplied 

1  Alois  Riegl,  Stilfragen,  figs.  76,  96,  128,  130  and  158,  Berlin,  1893. 

2  Op.  cit. 

3  Op.  cit.,  fig.  213. 


Fig.  256.— Unique  type  ot  vase,  the  zonal  decorations 
being  alligator  motives.      Polychrome  ware.     '/« 


156 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


by  the  imagination.  The  design  represents  the  body-line  of  the  alligator  (see 
PI.  XL,  fig.  /;  and  text-fig.  224),  and  the  concentric  rings  placed  in  the  center 
of  the  dorsal  concavity  are  the  body-markings.  The  multiple  motive  is  thus 
broken  up  into  its  constituent  units,  each  representing  a  whole  alligator.  An 
excellent  example  of  this  motive  is  figured  by  Holmes.1  The  Yale  Museum  is 
particularly  fortunate  in  having  examples  of  it  in  various  stages  of  its  development 
and  showing  its  connection  with  the  branching  scroll. 

The  largest  vase  of  the  polychrome  group  and  indeed  of  the  entire  collection 
is  reproduced  in  figure  257.  In  shape  it  is  unique  and  in  modeling,  perfect. 
Beginning  with  the  simple  rounded  bottom,  the  walls  are  carried  upward  and 


Fig.  257. — The  largest  vase  in  the  collection,  unique  in  form  and  decorated  with  alligator  motives. 
Polychrome  ware.     '/> 


rapidly  outward  till  the  greatest  diameter  is  reached  at  the  high  and  sharply 
angular  shoulder.  There  is  a  further  flattening  at  the  collar  approximating  a 
horizontal  plane.  From  this  rises  a  short  neck  with  angular  lip.  Rather  far  out 
upon  the  shoulder  and  on  opposite  sides  are  two  raised  highly  conventional  animal 
forms,  which  also  resemble  functionless  handles.  Similar  forms  occur  on  one  of 
the  polychrome  vases  belonging  to  the  United  States  National  Museum. 

The  red  slip  of  the  lower  zone  and  of  the  aperture  differs  in  tone  from  the  delineat- 
ing red,  and  is  approximately  of  the  same  shade  as  the  paste.  The  ground  color 
of  the  upper  zone,  including  collar  and  neck,  is  the  usual  cream  slip,  on  which 
excepting  the  collar,  appear  the  delineating  colors,  black,  red  and  purple.  The 

1  Op.  cit,  fig.  211,  212. 


THE  POLYCHROME  GROUP.  157 

highly  skilful  and  artistic  panel  ornaments  are  broken  in  the  middle  by  the  sharp 
angle  at  the  shoulder.  The  four  panels  are  grouped  so  that  two  opposing  ones 
form  a  pair,  the  smaller  pair  being  in  line  with  the  relief  forms.  The  designs  in 
the  large  panels  are  similar,  but  not  identical.  The  same  is  true  of  those  in  the 
small  panels.  These  designs  all  seem  to  rest  on  the  broad  black  band  that  forms 
the  bottom  of  the  common  panel  frame,  but  do  not  quite  reach  the  black  band 
at  the  top  of  the  frame. 

The  purple  is  used  very  sparingly,  being  found  only  in  the  two  small  panels. 
Here,  the  principal  element  of  the  design  resembles  the  false  door  (Scheinthiir)  of 
an  Egyptian  tomb.  The  narrow  longitudinal  central  framework  is  filled  in  with 
purple,  one  margin  of  which  is  thrown  into  a  series  of  wave-like  curves.  The 
crosspiece  at  the  top  is  also  purple.  Above  this  comes  the  life  form  in  relief  and 
above  the  latter,  a  much  flattened  oval  ring  of  purple  outlined  in  black.  The  details 
of  the  panel  opposite  are  practically  the  same,  except  that  red  is  employed,  instead 
of  purple,  in  the  central  framework. 

The  designs  of  the  two  large  panels  are  each  built  up  around  a  central  red 
oval.  About  this  are  grouped  the  four  arms  of  an  X-shaped  design,  each  contain- 
ing a  small  panel,  decorated  with  the  false  door  pattern  resembling  somewhat 
that  already  described.  In  the  upper  and  lower  angles  of  the  X  is  an  elaborate 
rendering  of  the  alligator  motive  in  black  —  the  body-line  of  the  animal  and  a 
small  concentric  ring  placed  over  the  dorsal  concavity  (compare  with  fig.  256). 
Within  the  lateral  angles  are  quadrangular  fields,  each  enclosing  a  more  or  less 
realistic  representation  of  the  alligator.  These  are  reproduced  in  figure  258. 


Fig.  258. — Conventionalized  alligator  designs  illustrating  the  process  of  sparing  the  pattern  out  of  the  field  (see 
fig.  257).    V» 

The  technique  here  is  different  from  that  which  obtains  elsewhere  throughout 
this  group.  The  design  is  produced  not  by  delineating  colors,  but  by  filling  in 
the  field  around  the  figure  in  black,  leaving  the  figure  in  the  color  of  the  slip. 
The  skill  and  ingenuity  with  which  this  work  is  executed  are  simply  amazing. 
They  make  the  ancient  Chiriquian  a  worthy  rival  of  those  who  boast  the  tra- 
ditions of  Greece  and  of  the  renaissance  of  Italy.  He  proved  himself  master  of 
the  brush  in  three  distinct  systems:  (1)  The  production  of  the  figures  by  direct 
application  of  delineating  colors ;  (2)  the  lost  color  process,  and  (3)  by  sparing 
the  figure  out  of  the  ground  (ausgespartes  Ornament). 

The  series  ends  with  the  gem  of  the  polychrome  group  and  the  finest  work 
of  ancient  Chiriquian  decorative  art  known  to  the  author.  In  originality  of  design, 
richness  of  detail  and  skill  in  execution,  it  stands  alone  (PI.  XLV  and  frontis- 
piece). Holmes l  attempted  to  reproduce  this  piece  also,  from  de  Zeltner's  miniature 

1  Op.  cit,  figs.  214,  215. 


158  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

photograph,  but  his  two  figures  are  of  necessity  full  of  slight  inaccuracies.  Like 
the  rest  of  the  polychrome  series,  except  the  first  specimen,1  this  came  to  Yale  with 
the  de  Zeltner  collection. 

The  shallow  bowl,  which  has  a  diameter  of  over  twenty-seven  centimeters,  is 
mounted  on  a  hollow  perforated  stand  that  gives  to  the  whole  a  height  of  about 
nineteen  centimeters.  The  thickness  of  the  walls  varies.  The  rim  of  the  bowl 
is  ten  millimeters  thick,  but  this  thickness  is  soon  reduced  by  half  as  the  center 
is  approached.  The  same  is  true  of  the  stand,  the  walls  of  which  are  thickest 
at  the  base  and  grow  thinner  rapidly  toward  the  top.  Of  the  four  longitudinal 
slits  like  elongated  triangles  that  pierce  the  walls  of  the  stand,  the  alternating 
ones  point  in  opposite  directions.  These  openings  were  cut  before  the  surface 
was  polished  or  painted.  The  stand  is  in  excellent  condition,  but  the  bowl  had 
been  not  only  severed  from  its  support  but  also  broken  into  several  pieces. 
These  had  been  put  together  in  an  indifferent  manner  while  still  in  de  Zeltner's 
hands,  and  the  beauty  of  the  designs  had  been  much  marred  by  repainting.  By 
means  of  alcohol,  which  luckily  does  not  affect  any  of  the  original  colors  (cream, 
black,  red  and  purple),  I  have  removed  all  such  painted  restorations. 

This  is  the  only  vessel  in  the  Yale  or  any  similar  collection,  where  every 
visible  part  has  been  carefully  decorated,  the  interior  of  the  hollow  stand  only 
excepted.  The  ground  is  a  cream-colored  slip.  Black  is  the  color  chosen  for  all 
the  outlines  and  for  the  minuter  details.  It  is  everywhere  applied  with  a  very 
fine-pointed  brush  or  instrument,  the  lines,  whether  straight  or  curved,  being  drawn 
with  precision.  Red  and  purple  are  used  alternately  as  mass  colors,  always  on 
spaces  that  are  outlined  in  black. 

The  ornamentation  of  the  base  consists  of  a  lower  horinzontal  red  band  contin- 
uous with  two  spirally  ascending  red  band,  and  a  horizontal  purple  band  at  the 
top  continuous  with  two  spirally  descending  purple  bands  alternating  with  the 
ascending  red  bands.  These  four  bands  pass  directly  over  the  four  openings. 
The  designs  on  the  intervening  spiral  panels  resemble  the  herring-bone  pattern, 
two  pointing  upward  and  two  alternating  with  these,  pointing  downward.  Thus, 
the  balance  in  the  use  of  color  as  in  the  design  is  everywhere  maintained. 

The  exterior  of  the  bowl  (fig.  b)  is  decorated  as  follows  :  A  short  distance  above 
the  top  of  the  stand,  there  is  a  red  band  and  above  this  a  broad  zone  limited 
above  and  below  by  black  bands.  Within  this  zone  are  what  appear  at  first  sight 
to  be  four  panels  or  compartments,  each  enclosing  an  alligator's  head.  This,  in 
fact,  is  the  interpretation  de  Zeltner2  put  upon  them  when  he  said:  —  "La  partie 
inferieure  de  la  coupe  est  divisee  en  quatre  compartiments,  dont  chacuri  renferme 
un  dragon  paint  en  noir  et  rouge  sur  fond  blanc ;  les  encadrements  sont  tantot 
rouges,  tantot  violets."  A  more  minute  observation  proves  that  they  are  not  panels 
(four)  at  all.  The  entire  design  resolves  itself  into  two  units  of  the  classic  fret. 
The  ends  of  each  fret  are  linked  with  alligator  heads,  which  face  each  other,  one 
being  of  necessity  inverted.  Holmes  has  already  pointed  out  the  derivation  of 
the  fret  from  the  body-line  of  the  alligator.  In  the  present  instance,  we  have  a 

1  This  pitcher  with  broken  handle  formed  a  part  of  the  McNiel  collection. 
9  Op.  cit.,  9,  10, 


THE  POLYCHROME  GROUP.  159 

realistic  verification,  showing  that  a  unit  of  the  fret  involves  the  body-lines  of 
two  alligators.  The  upturned  snout  and  the  spines  on  the  back  of  the  head  are 
easily  recognizable.  The  bands  composing  the  fret  are  delicately  outlined  in 
black  and  also  divided  into  long  slender  compartments,  that  are  filled  in  with  red 
and  purple  alternately.  The  fret  with  accompanying  heads  on  the  opposite  side 
is  similar  to  the  one  figured.  This  is  one  of  the  most  elaborate  examples  of  the 
association  of  a  life  form  with  the  fret  or  scroll. 

The  conventionalized  treatment  of  the  alligator  by  the  ancient  Chiriquian  artists 
suggests  a  comparison  with  that  of  the  crocodile  (cipactli)  and  of  the  blue  feather 
snake  (xiuhcouatl)  of  the  ancient  Mexicans.  The  conventional  head  of  a  bird  worn 
on  the  forehead  of  so  many  Mexican  deities  (Ginteotl,  Xochipilli,  Tonacatecutli, 
Quetzalcouatl,  TonatiuK)  also  reminds  one  of  the  alligator  head  with  its  recurved 
jaws.  In  this  connection,  it  is  interesting  to  note  that  life  forms  with  a  head  at 
either  end  of  a  common  body  are  incised  on  some  of  the  metates  from  Las 
Guacas,  province  of  Nicoya,  Costa  Rica,  recently  described  by  Hartman.1  In  one 
case,  the  common  body  is  a  guilloche  pattern  and  in  the  other  it  has  the  ap- 
pearance of  being  tied  in  a  knot,  bringing  the  two  heads  closer  together.  The 
latter  do  not  seem  to  have  been  noticed  by  the  author.  They  look  very  much 
like  the  Chiriquian  alligator  head.  In  Peruvian  art,  also,  there  is  a  reptilian  motive 
akin  to  the  so-called  alligator  motive  of  Chiriqui,  even  to  the  spine-  and  scale- 
symbols,  the  nuchal  crest  and  hooked  snout. 

The  most  extraordinary  design  is  the  one  inside  the  cup  or  chalice  (PL  I)2  —  a 
human  body  and  extremities  surmounted  by  the  alligator's  head  with  all  its 
characteristic  traits  (the  suspended  lower  jaw,  recurved  snout  and  a  frontal  as 
well  as  a  nuchal  crest).  This  is  the  same  mythical  creature,  excellent  examples 
of  which  are  to  be  recognized  among  the  gold  figurines  (see  PI.  XLVIII,  fig.  g ; 
and  text-figs.  365-368),  to  which  I  have  given  the  name  alligator-god.  The  artist- 
ically executed  spines  with  alternating  red  and  purple  are  attached  to  the  crests 
instead  of  to  the  head  proper.  Within  the  field  back  of  the  eye  and  leading 
down  to  the  shoulders  are  three  alligator  motives  —  the  curve  of  the  body  ac- 
companied by  the  symbol  for  the  body-markings  placed  in  the  dorsal  concavity. 
In  the  upper  and  the  lower  motive  there  is  a  dorsal  angle  instead  of  a  dorsal 
curve.  The  central  figure,  however,  is  very  similar  to  the  motive  as  it  appears 
in  preceding  illustrations  of  polychrome  ware  (see  fig.  256).  The  same  design  is 
employed  to  fill  angular  spaces  on  opposite  sides  of  the  field.  Something  resem- 
bling a  tail  branches  off  from  the  body  on  either  side  in  the  region  of  the  hips. 
Accompanying  each  of  the  four  extremities  there  is  a  design  composed  of  series 
of  parallel  lines  meeting  at  an  angle.  Not  an  inch  of  space  is  left  undecorated ; 
spines  and  teeth  are  to  be  seen  everywhere.  Both  de  Zeltner  and  Holmes  speak 
of  the  resemblance  this  interior  decoration  bears  to  Chinese  art,  particularly  to 

1  Archeological  researches  on  the  Pacific  coast  of  Costa  Rica.     Mem.  Carnegie  Museum, 
III,  no.  1,  PI.  VIII,  fig.  2,  and  PI.  XVIII,  fig.  2,  1907. 

2  The   original  water-color  drawings  for  the    five  chromolithographic    plates   (I,  XXVII, 
XLII,  XLIV  and  XLVIII)  in  this  volume  were  destroyed  by  fire  before  the  first  proofs  of 
the  same  had  been  corrected. 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

that  of  the  earliest  known  period ;  but  neither  ventures  to  claim  an  identity  of 
origin. 

The  source  from  which  the  purple  was  obtained  remains  a  mystery.  That  its 
origin  was  known  only  to  a  few,  is  evident  from  its  rare  use.  It  does  not  seem 
to  have  been  known  outside  the  province  of  Chiriqui,  from  which  only  eight 
specimens  have  been  reported  that  include  purple  as  a  delineating  color.  Six 
are  in  the  Yale  Museum  and  two  in  the  United  States  National  Museum.  The 
color  probably  comes  from  a  non-ferruginous  metallic  oxide  and  was  apparently 
applied  before  firing.  Had  it  been  applied  after  the  firing,  a  vegetable  or  animal 
dye  might  have  been  used  ;  that  from  a  mollusk  (Purpura  patula)  for  instance,  which, 
according  to  Dr.  H.  Pittier  de  Fabrega,  may  be  found  clinging  to  the  rocks  between 
high  and  low  tide  levels  on  both  the  Atlantic  and  the  Pacific  coast  of  Panama. 

The  purple  industry  is  practised  by  the  natives  of  Cano  Island,  off  the  mouth 
of  the  Diquis  river ;  also  by  those  living  at  Golfo  Dulce,1  on  the  southwest  coast 
of  Costa  Rica.  In  Nicoya,  the  Indians  color  their  cotton  thread  in  a  primitive 
manner  by  simply  drawing  it  over  the  shell  opening  of  the  snail,  thereby  dampen- 
ing it  in  the  escaping  purple  liquid.  The  color,  which  is  at  first  greenish  yellow, 
becomes  violet  on  drying.  The  shell  is  reddish  about  the  opening,  remind- 
ing one  of  P.  hcemastoma  Linne  of  the  Mediterranean,  with  which  the  fishermen 
of  Minorca  still  mark  their  linen.  On  the  other  hand,  the  purple  of  the  ancient 
Phenicians  and  Greeks  came  from  Murex  trunculus  and  M.  brandaris  Linne. 

On  page  181  of  his  Conchyliologie  (1742),  M.  Degallier  d'Argenville  states  that 
the  "  Conque  Persique"  is  made  use  of  both  in  Panama  and  Guatemala  to  color 
cotton  thread  and,  on  that  account,  is  called  "  Pourpre  de  Panama."  According  to 
van  Maartens,  the  "  Conque  Persique"  of  d'Argenville  is  the  Purpura  persica  of 
Brugiere  and  Lamarck,  a  species  very  similar  to  Purpura  patula  and  its  representa- 
tive in  the  Indian  Ocean. 

As  early  as  1744,  Don  Antonio  de  Ulloa  saw  at  S.  Elena,  in  what  is  now 
Ecuador,  and  also  at  Nicoya  (Costa  Rica),  purple  color  produced  from  a  snail, 
and  speaks  of  it  as  being  pronounced  and  durable,  so  that  it  lost  nothing  either 
from  frequent  washing  or  from  long  use. 

Thomas  Gage 2  was  a  still  earlier  observer,  his  account  being  as  follows : 

"  About  Chira,  Golfo  de  Salinas,  and  Nicoya,  there  are  some  farms  of  Spaniards,  few  and 
very  small  Indian  Townes,  who  are  all  like  slaves  employed  by  the  Alcalde  Maior,  to  make 
him  a  kind  of  thred  called  Pita,  which  is  a  very  rich  Commodity  in  Spain,  especially  of 
that  colour  wherewith  it  is  dyed  in  these  parts  of  Nicoya,  which  is  a  purple  colour ;  for  the 
which  the  Indians  are  here  much  charged  to  work  about  the  Sea  shore,  and  there  to  finde 
out  certain  shels  wherewith  they  make  this  purple  dye." 

In  this  connection,  the  observations  of  Mr.  C.  V.  Hartman  are  interesting.  On 
one  of  his  recent  expeditions  to  the  Pacific  coast  of  Costa  Rica,  he  visited  Guana- 

1  Joaquin  Bernardo  Calvo.     Administracion  Soto,  Repiiblica  de  Costa  Rica,  Apuntamientos 
geograficos,  estadisticos  e  historicos.     S.  Jose  de  Costa  Rica,  1886. 

2  The  English-American,  his  Travail  by  Sea  and  Land :  or,  A  New  Survey  of  the  West- 
Indies,  Containing  A  Journall  of  Three  thousand  and  Three  hundred  Miles  within  the  main 
Land  of  America,  192,  193.    London  (R.  Cotes),  1648. 


STOOLS.  161 

costa,  where  he  saw  an  Indian  woman  from  Chiriqui  wading  in  the  water  in  search 
of  Purpura.  She  would  put  the  shell  to  her  mouth  and  blow  into  it,  causing  the 
snail  to  discharge  a  greenish  yellow  fluid,  which  she  applied  to  white  cotton  thread. 
The  fluid  in  drying  turns  to  purple. 

This  industry  was  met  with  recently  in  Tehuantepec,  southwestern  Mexico,  by 
Professor  Eduard  Seler,  who  while  there  obtained  a  petticoat  or  tunic  (Span,  enaguas), 
which  the  Zapotecan  women  wear  only  on  special  occasions  and  which  but  few  can 
afford  to  own.  The  costliness  of  the  garment  is  explained  by  the  quantity  of 
snails  that  would  be  required  to  color  it.  The  snails  in  question  are  not  very 
plentiful.  They  are  taken  from  the  water  alive  and  spit  upon  (man  bespucke  sie). 
The  fluid  emitted  by  the  animal  on  account  of  this  unusual  treatment  is  collected 
and  the  creature  thrown  back  into  the  water.  This  is  certainly  a  more  econom- 
ical process  than  the  removal  of  the  soft  parts  from  the  shell,  customary  in  Ulloa's 
time.  Mrs.  Zelia  Nuttall  *  notes  a  survival  of  the  purple  industry  in  Mexico. 

The  use  of  purple  in  the  decoration  of  pottery  is  not  only  exceedingly  rare  in 
Chiriqui,  but  seems  to  be  confined  to  that  culture  area.  The  nearest  approach 
to  it  that  I  have  been  able  to  discover  is  seen  on  a  vase  from  Mercedes  (Costa 
Rica)  belonging  to  the  Keith  collection.  Curiously  enough  the  purple  is  employed 
as  a  ground  color  on  the  piece  in  question,  the  pattern  being  produced  by  the 
lost  color  process.  The  design  is  therefore  purple,  while  the  interspaces  are 
covered  with  apparently  the  same  non-adhesive  black  that  was  used  for  a  like 
purpose  on  the  lost  color  ware  of  Chiriqui.  In  the  character  of  the  paste  and 
the  modeling,  however,  the  specimen  resembles  neither  of  the  two  Chiriquian 
wares,  lost  color  and  polychrome. 


VARIOUS  OBJECTS  OF  CLAY. 

The  ancient  artificers  of  Chiriqui  left  practically  no  architectural  monuments.  Their 
fame  must  rest  upon  the  achievements  of  the  potter,  the  goldsmith  and  the  sculptor. 
In  the  mastery  of  clay  they  had  few  equals  and  no  superiors  on  the  Western 
Hemisphere.  This  is  shown  in  the  infinite  variety  of  form  and  perfection  of  the 
modeling,  in  the  painted  as  well  as  plastic  decoration  and  the  variety  of  uses  to 
which  the  product  was  put.  The  pieces  already  described  were  vessels  either 
for  domestic  use  or  for  ceremonial  and  decorative  purposes.  In  addition  to  this 
general  class,  there  are  various  objects  of  clay,  such  as  stools,  similar  to  those 
executed  in  stone  ;  spindle-whorls ;  stamps  ;  small  receptacles  with  removable  covers, 
that  may  have  served  as  needle-  or  jewel-cases ;  figurines  or  statuettes  and  musical 
instruments,  the  latter  including  rattles  and  whistles. 

STOOLS. 

The  genetic  relationship  between  metates  and  stools  was  referred  to  in  the 
chapter  on  objects  of  stone.  There  is  a  series  of  clay  stools  that  follow  rather 
closely  the  types  executed  in  stone,  except  that  they  are  more  ornate,  as  might 

1  Putnam  anniversary  volume,  368-384,  1909. 

MEMOIRS  CONN.  ACAD.,  Vol.  III.  21 


162  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

be   expected   from   the   ease  with  which  clay  may  be  modeled.     They  all  belong 
to  the  terra  cotta  ware. 

A  series  of  clay  stools  is  represented  in  Plate  XLVI.  One  of  the  more  elementary 
forms  is  shown  in  figure  a.  The  top  is  nearly  square,  concave  in  both  directions 
and  without  decoration.  There  are  four  legs,  the  two  on  each  side  connected 
by  a  basal  crosspiece,  leaving  the  ends  open.  A  figure,  half-human,  half-monkey, 
stands  between  each  pair  of  legs  and  helps  to  support  the  seat  or  plate.  This 
piece  resembles  one  stage  in  the  development  of  the  metate  (see  fig.  21)  on  the 
one  hand  and,  on  the  other,  the  wooden  seats  (see  fig.  22)  in  use  among  the 
Chiriquians  of  today. 

Among  the  clay  stools  the  elements  of  the  prevailing  type  are  seen  to  good 
advantage  in  figure  b.  The  seat  is  round  instead  of  square  and  the  four  legs  rest 
on  a  ring  at  the  bottom.  The  whole  structure  is  strengthened  by  two  opposite  com- 
paratively large  grotesque  figures,  with  monkey  heads  and  human  bodies.  These 
are  hollow  and  serve  as  rattles.  Similar  figures  are  to  be  found  among  the  gold 
objects.  In  fact  the  metal-worker's  technique  seems  to  have  been  borrowed  by 
the  makers  of  the  clay  stools.  Contrary  to  the  general  rule,  the  top  in  figure  c 
is  gently  convex  instead  of  concave.  The  four  flat  legs  to  which  grotesque  figures 
are  applied  rest  on  a  connecting  ring  at  the  bottom.  The  four  interspaces  are 
almost  completely  filled  by  four  supporting  figures. 

An  interesting  type  of  stool  is  shown  in  figure  d.  The  three  legs  or  pillars  are 
spread  laterally  till  they  almost  meet.  In  other  words,  the  top  or  seat  rests  on 
a  hollow  stand  whose  walls  are  continuous  except  for  three  narrow  vertical  slits. 
Three  fantastic  forms  are  applied  to  the  supporting  walls.  These  are  slit  on 
the  hollow  bodies  of  the  figures  outside.  To  a  marked  degree,  the  flattened  or 
beaten  character  of  the  arms  of  the  latter  resembles  work  in  metal.  There  are 
nineteen  additional  small  grotesque  heads  applied  to  the  margin  of  the  seat.  An 
incised  braidlike  fillet  encircles  the  base ;  a  similar  one  is  placed  beneath  the  series 
of  small  heads.  Incised  zigzag  patterns  relieve  the  monotony  of  what  would  other- 
wise be  plain  interspaces.  They  are  probably  serpent  motives  and  are  so  placed 
as  to  appear  to  be  held  in  the  hands  of  the  three  applied  figures,  recalling  the 
attitude  of  the  alligator-god  holding  a  snake  in  either  hand  (see  PI.  XLVIII,  fig.  g). 

A  low  stool  with  convex  seat  is  reproduced  in  figure  e.  The  circular  wall  of 
the  hollow  stand  is  broken  at  irregular  intervals  where  openings  of  various  shapes 
and  sizes  are  so  made  as  not  to  interfere  with,  but  on  the  contrary  to  heighten  the 
effect  of  the  numerous  applied  figures  of  men  and  monkeys.  The  bodies  of  all 
these  are  uniformly  marked  with  diminutive  circular  indentations,  which  occasion- 
ally appear  also  on  the  supporting  wall.  Three  of  the  figures  have  human  bodies 
and  monkey  heads ;  two  of  them  are  inverted,  the  other  is  upright.  The  remaining 
ten  are  long-tailed  monkeys,  apparently  both  old  and  young ;  all  of  them  in  pictures- 
que attitudes,  some  playful,  some  demure. 

In  figure  /,  the  monkey  forms  that  support  the  seat  are  similar  to  those  seen 
in  the  stone  stools  (see  PI.  IV,  fig.  d).  The  animals  seem  to  be  swinging  round 
a  circle  holding  each  other's  hands.  The  tail  of  each  is  fused  with  the  left  elbow 
of  the  figure  on  its  right  and  is  also  supported  by  a  tiny  monkey  sitting  on  the 
basal  ring  below  it.  The  margin  of  the  seat  is  battered  in  places,  as  if  the  piece 


SPINDLE-WHORLS. 


163 


had  seen  service  in  some  capacity.  The  seat  of  one  rather  tall  stool  of  crude 
workmanship  is  supported  on  the  heads  of  four  caryatids,  whose  arms  are  disposed 
after  the  fashion  of  the  "  Panama  Venus  "  (see  fig.  40).  The  seat  of  the  smallest 
clay  stool  in  the  collection  rests  on  the  uplifted  heads  and  tails  of  four  animal  figures. 
The  largest  and  in  many  respects  the  finest  piece  of  this  kind  is  reproduced 
in  figure  259.  It  measures  30  centimeters  across  the  top  and  is  17  centimeters  high. 
There  are  but  three  legs  alternating  with  strange  half-human  forms  that  stand  on 
the  connecting  ring  below  and  help  to  support  the  concave  seat  above.  Except 
for  the  loin-cloth  and  absence  of  tail,  there  is  little  to  suggest  the  human 
figure.  Here  again  the  arms  are  fashioned  as  if  of  hammered  gold.  The  bodies 
are  hollow,  slit  down  the  back  and  each  carries  a  clay  ball.  The  grotesque  head 


Fig.  259. — Large  fine  clay  stool,  the  seat  supported  by  three  legs  alternating  with 
strange  half-human  forms.     Armadillo  ware.     */" 

is  not  human.  It  may  be  that  of  an  ape  or  an  alligator,  the  horizontal  flattening 
of  the  jaws  suggesting  the  latter.  In  some  respects,  the  entire  figure  is  analogous 
to  certain  gold  figurines  of  the  alligator-god.  There  are  nineteen  additional  small 
heads  surrounding  the  rim.  The  seat  is  concave  and  highly  polished  for  ware 
of  this  kind. 


SPINDLE-WHORLS  AND  STAMPS. 

The  spindle-whorl  is  one  of  those  links  that  bind  the  archeology  of  region  to 
region  and  of  age  to  age.  The  weaver's  art  seems  to  have  developed  in  widely 
separated  parts  of  the  world  and  in  some  places  earlier  than  in  others.  Spindle- 
whorls  were  found  by  Schliemann  at  Troy,  by  Keller  in  the  Swiss  lake-dwellings, 
and  by  many  archeologists  in  various  parts  of  Europe  and  America.  There  is  often 
a  striking  similarity  between  those  found  in  regions  remote  from  each  other;  as, 
for  example,  Troy  and  Mexico.  The  collection  of  spindle-whorls  from  Chiriqui 


164 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


is  small,  consisting  mainly  of  plain  perforated  disks  made  from  potsherds  (fig.  260). 
In  one  specimen  (fig.  261),  the  axis  is  somewhat  prolonged  in  one  direction  and 
about  it  are  two  opposed  figures,  probably  human,  each  indicated  by  a  head  and 
arms  in  relief.  The  head  and  arms  only  are  indicated  (fig.  261).  This  and  the 
preceeding  are  both  in  the  natural  color  of  the  baked  clay. 

Specimens  belonging  to  this  class  are  extremely  rare.  Holmes  figures  none 
whatever.  The  only  one  in  the  Yale  collection  is  bell-shaped  and  made  of  the 
same  paste  as  the  pottery  of  the  scarified  group  (fig.  262).  The  paint  is  also  the 
same.  There  is  an  attempt  at  a  perforation  through  the  part  serving  as  a  handle, 


Fig.   260. 


Fig.  261. 


Fig.  262. 


Fig.   260. — Spindle-whorl  consisting  of  a  plain  perforated  disk.     '/« 

Fig.  261. — Spindle-whorl  decorated  with  heads  and  arms  in  relief.     '/> 

Fig.  262. — Bell-shaped  stamp;  a,  side  view;  b,  view  of  lower  end.     Scarified  ware.     */« 

but  the  two  holes  do  not  seem  to  have  become  continuous  at  a  central  point. 
The  small  stamp  at  the  top  resembles  an  eye  with  branching  rays.  The  large 
stamp  at  the  mouth  of  the  bell  is  of  the  same  nature  and  design;  but  instead 
of  a  single  slit  across  the  eye,  there  are  two  forming  a  cross,  outside  of  which  are 
two  concentric  rings  of  rays. 


Fig.  263. 


Fig.  264. 


Fig.  263. — Needle-case.     Lost  color  ware.     */» 
Fig.  264. — Needle-case  ;     from    Divala.      Lost 
color  ware.     */• 


NEEDLE-CASES. 

Under  this  head  is  grouped  a  series  of 
small  oblong  to  oval  receptacles,  the  use 
of  which  is  more  or  less  problematical.  They 
were  called  by  Holmes  needle-cases,  but  he 
also  suggested  that  they  could  have  served 
to  contain  "  any  other  small  article  of  domestic 
use  or  of  the  toilet."  They  belong  for  the 
most  part  to  the  lost  color  ware.  They 
consist  of  two  parts,  body  and  lid.  Both  are 
perforated  near  their  margins  of  contact,  in 
such  a  manner  as  to  make  the  holes  of  one 
coincide  with  those  of  the  other.  The  two 
specimens 'illustrated  (figs.  263-264)  belong  to 
this  lost  color  group  of  ware ;  the  lid  or  cover 
is  missing  from  each. 


165 


FIGURINES. 


The  majority  of  objects  in  clay  that  may  be  classed  primarily  as  figurines  rep- 
resent man.  On  the  other  hand,  plastic  life  forms  as  ornaments  or  supports  for 
vases  rarely  have  human  attributes.  The  primitive  artist  everywhere  has  familiarized 
himself  with  the  animal  forms  about  him  more  than  with  that  of  his  own  kind. 
This  is  somewhat  unexpected,  as  the  human  model  would  seem  to  be  the  most 
available  from  every  point  of  view.  The  cave-dwellers  of  Europe  have  left  many 
and  excellent  engravings  and  frescoes  of  species  now  extinct.  They  took  little 
pains  however  to  leave  portraits  of  their  own  race.  The  early  human  figurines 
of  Greece  were  extremely  primitive,  particularly  as  regards  the  physiognomy.  The 
faces  were  more  birdlike  than  human.  The  heads  of  the  human  figurines  from 
Chiriqui  are  perhaps  more  rodentlike  than  avian.  The  Chiriquian  artist  seems 


Fig.  265. — Human  figurine  representing  mother  and 
infant.     Alligator  ware.     '/> 


Fig.  266. — Human  figurine.     Alligator 
ware.      '!• 


to  have  treated  the  human  form  as  a  joke,  the  result  being  generally  grotesque 
if  not  even  ludicrous.  When  it  came  to  modeling  an  owl  or  a  peccary  however 
his  work  was  more  faithful  to  life. 

Figurines  that  are  first  of  all  musical  instruments  are  placed  under  the  latter  head. 
On  the  contrary,  those  that  contain  pellets  are  retained  here,  since  the  typical 
gourd-shaped  rattles  make  a  class  by  themselves.  Every  figurine  in  the  series 
as  constituted  belongs  to  the  so-called  alligator  ware  with  its  characteristic  paste, 
slip,  delineating  colors  and  decorative  motives.  All  are  perforated  transversely 
through  the  neck,  evidently  for  suspension.  As  has  been  said,  a  majority  are 
represented  as  human,  or  perhaps  more  accurately,  as  divine.  Figure  265,  for 
example,  reminds  one  of  Isis  and  Horus ;  a  mother  seated,  her  right  hand  resting 
on  the  knee  and  her  left  holding  an  infant  to  her  breast.  The  nose,  the  most 
prominent  feature,  is  fused  with  the  forehead  by  means  of  a  high  bridge ;  the 


166 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


mouth  is  hidden  beneath  the  overhanging  nose  and  the  chin  is  wanting.  This 
type  of  profile  is  repeated  over  and  over  again. 

The  hair,  represented  by  black  stripes,  reaches  to  the  shoulders.  This  character 
together  with  the  sitting  posture  and  spreading  legs  is  common  to  all  the 
female  figurines.  The  base  in  each  of  these  is  pierced  by  three  holes  or  slits  that 
communicate  with  the  hollow  interior  of  both  legs  and  body.  These  seated 
figurines  may  all  be  images  of  one  and  the  same  mother  goddess.  They 
have  their  counterpart  not  only  in  Isis  and  Horus,  but  also  in  Bachue  and 

her  son  of  the  Chibchas  ;  in  the  Mexican 
Goddess  of  Flowers,  Xochiquetzal,  with 
Macuilxochitl-Xochipilli  on  her  arm;  and  in 
Ciuacouatl  of  the  Valley  of  Mexico. 

A  similar  statuette  is  shown  in  figure  266, 
evidently  the  same  mythical  character  with- 
out the  infant.  Both  hands  rest  on  the 
thighs,  the  fingers  being  indicated  by  black 
lines.  The  usual  conelike  termination  of 
tlie  legs  is  here  recurved  to  represent  feet. 
In  addition  to  the  neck  perforation,  there 
is  another  marking  the  external  auditory 
opening. 

In  the  case  of  figure  267  a,  it  would  be 
difficult  to  determine  which  sex  is  intended. 
The  image  holds  in  its  hands  a  shallow 
bowl,  which  is  also  securely  attached  to 
it  at  three  points,  the  abdomen  and  the 
knees.  The  painted  decoration  is  an  im- 
portant feature;  representations  of  the  alli- 
gator in  black  cover  both  arms  and  fill  a 
panel  that  extends  the  length  of  the  two 
legs  from  ankle  to  ankle,  passing  across 
the  rump.  Of  the  alligators  that  can  not 
be  seen  in  the  general  view,  three  are 
selected  as  samples.  The  one  with  a 
double  head  (fig.  2675)  is  from  the  right 
arm.  The  artist  has  contrived  to  show  both 

nuchal  appendages,  but  the  feet  of  only  one  alligator.  In  the  figure  (267  d) 
at  the  end  of  the  panel,  a  different  technique  is  employed.  Here  it  is  the  field  left 
unpainted  that  makes  up  the  figure  of  the  alligator;  in  other  words,  with  the 
single  exception  of  the  eye,  the  black  determines  the  form  represented  without 
being  a  part  of  it.  It  is  the  double-headed  form  of  the  alligator  and  evinces  a 
high  degree  of  imaginative  skill,  the  head  on  the  right  being  inverted.  Two  such 
seated  figurines  holding  bowls  are  in  the  collection  of  Dr.  W.  J.  Lamson  of 
Summit,  N.  J.  They  also  belong  to  the  alligator  group,  but  are  not  ornamented 
with  figures  of  that  animal. 

In  figure  268,  is  shown  what  appears  to  be  a  human  form  seated  on  a  stool  or 


Fig.  267;  a. — Seated  human  image  holding  a  shallow 
bowl.  Alligator  ware.  '/» ;  b.— Detail  of  double- 
headed  alligator  decorating  the  right  arm  ;  c, 
d. — Detail  of  one  end  of  the  panel  decorating 
the  legs.  '/' 


FIGURINES. 


167 


Fig.  268.  —  Human  figure  seated  on  a  stool 
or  metate.     Alligator  ware.     */> 


metate.  The  hands  rest  on  the  shins ;  and  the  feet,  which  projected  over  the 
edge  of  the  seat,  have  been  broken  off.  The  seat  itself  has  four  feet.  This 
specimen  recalls  one  from  Santo  Domingo,  illustrated  by  Fewkes,  and  points  to  a 
relationship  between  metates  and  stools. 

A  different  type  of  image  is  reproduced  in 
figure  269,  which  exhibits  a  standing  masculine 
figure  with  short  legs,  flattened  body  and  elongated 
face,  on  which  the  nose,  broken  in  this  instance, 
continues  to  be  the  dominant  feature.  On  the 
head  is  the  characteristic  conical  cap  met  with  in 
the  armadillo,  as  well  as  in  the  handled,  group 
of  ware.  The  body  and  head  are  both  hollow, 
the  latter  being  supplied  with  pellets.  The  ex- 
ternal auditory  opening  is  marked  by  a  perforation. 
This  specimen  is  from  Jacu  and  probably  represents 
a  water-carrier,  as  witness  the  jug  borne  on  the 
back.  The  painted  decoration  is  injured  by  sur- 
face disintegration  due  to  weathering.  There  is 
a  red  field  on  the  throat  and  breast  reaching  down 
over  the  abdomen. 

Figurines  of  animal  forms  other  than  those  adapted  as 
whistles  are  not  very  numerous.  Figure  270  represents  the 
armadillo.  The  attitude  suggests  the  act  of  burrowing  or 
possibly  an  attempt  to  roll  up  for-  defense,  which  has  been 
frustrated  by  the  interposition  of  a  thick  bar  placed  trans- 
versely across  (or  through)  the  stomach  and  projecting  .some 
distance  beyond  the  carapace  on  either  side.  The  head  is 
depressed,  the  nose  pointing  slightly  backward  and  the  chin 
pressed  against  the  chest.  The  tail,  indicated  both  in  the 
round  and  by  means  of  a  band  of  black  paint,  is  brought  for- 
ward underneath,  applied  to  the  ventral  surface.  The  extremi- 
ties are  sharply  flexed,  the  toes  of  the  forefeet  pointed  for- 
ward and  those  of  the  hindfeet  turned  backward  (fig.  270  6). 
The  three  regions  of  the  slightly  raised  carapace  are  quite 
distinct.  The  smooth  surface  of  the  anterior  and  posterior 
sections  is  given  a  uniform  coat  of  black  paint,  while  the 
central  region  is  painted  red  and  grooved  so  as  to  bring  out 
in  relief  three  rather  wide  bands.  The  transverse  bar  pass- 
ing through  (or  across)  the  stomach  is  also  painted  red.  One  F'g-  269.— standing  mas 
of  the  projecting  ends  of  this  rod  was  evidently  broken  be- 
fore the  red  paint  was  applied,  as  a  coat  of  it  is  carried 
over  the  uneven  surface  of  the  break.  Or  the  break  may  have  occurred  while 
the  object  was  in  use  and  was  afterward  painted  over  to  match  the  sur- 
rounding color.  It  is,  at  all  events,  a  case  of  prehistoric  repairing.  The  part 
broken  off  may  have  been  a  head  for  which  the  opposite  end  could  have 
served  as  a  tail,  since  the  diameter  of  the  latter  is  not  so  great  as  that  of  the 


culine  figure  ;  from  Jacu. 
Alligator  ware.     '/> 


168 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


missing  protuberance.  There  is  a  ventral  perforation  that  communicates  with  the 
interior  of  the  hollow  body. 

It  is  interesting  to  note  that  the  disposition  of 
colors  on  the  carapace  of  the  armadillo  whistle  (see 
fig.  303)  and  of  this  armadillo  figurine  is  the  same. 
In  each  case,  the  central  banded  region  is  in  red, 
while  the  rest  of  the  carapace  is  in  black.  In  both 
cases  also,  a  red  median  band,  bounded  by  two 
parallel  lateral  black  bands,  is  carried  between  the 
ears  and  forward  toward  the  tip  of  the  nose.  The 
treatment  of  the  eyes  and  nostrils  is  also  identical. 
Two  examples  of  the  peccary  (Dicotyles)  are  given. 
On  account  of  its  stripes,  one  of  these  (fig.  271) 
might  be  intended  for  a  young  tapir  (Tapirus  bairdif). 
Black  is  the  prevailing  color,  red  occurring  only  on 
the  snout  and  as  a  single  transverse  band  on  each 
leg.  The  mouth  is  partly  open,  exposing  teeth ;  the 
lower  jaw  is  much  shorter  than  the  upper.  There 
is  the  customary  neck  perforation,  and  in  the  hollow 
body  are  a  number  of  pellets. 

Figure  272  leans  to  the  grotesque,  the  body  being 
excessively  short.  Holes  for  nostrils  are  punched 
in  the  large  cylindrical  snout,  the  end  of  which  is 
painted  red.  There  are  also  two  narrow  transverse 
bands  of  red  on  each  leg.  Black  is  employed  in 

mass  to  cover  practically  the  entire  body.  In  discussing  the  fauna  of  the  Isthmus, 
Seemann1  says:  "Pigs  wander  in  herds  about  the  forest  and  are  dreaded  by  the 
natives  who,  when  they  see  them,  seek  safety  in  flight  or  by  climbing  a  tree." 


Fig.  270. — Figurine  representing  the  ar- 
madillo, a. — lateral  view  ;  A. —  ven- 
tral view.  V» 


Fig.  271. 


Fig.   272. 


Fig.  271. — Perforated  figurine  representing  the  peccary  (Dicotyles).     Alligator  ware.      '/» 
Fig.  272. — Grotesque  figurine  representing  the  peccary.     Alligator  ware.     '/' 

As  the  colored  peccary  (Dicotyles  tajacu)  is  not  savage  and  does  not  attack  man 
or  other  animals,  the  variety  referred  to  by  Seemann  is  presumably  the  Warree  or 
white-lipped  peccary  (D.  labiatus). 

1  Op.  cit,  262. 


169 


MUSICAL  INSTRUMENTS. 

In  treating  of  this  subject  we  are  limited  to  musical  instruments  of  clay  and  of 
metal,  none  made  of  bone,  gourd,  wood,  etc.,  if  ever  in  existence,  having  been  preserved 
to  us.  Rattles,  drums,  bells  and  whistles  are  included  in  the  list.  In  addition  to 
these  specialized  instruments,  the  ancient  potters  were  fond  of  dropping  pellets 
into  everything  hollow  that  might  serve  to  give  forth  a  rattling  sound.  The  legs 
of  practically  all  tripods  were  thus  treated,  as  were  many  plastic  life  forms  that 
adorn  the  shoulders  of  vases.  By  the  application  of  the  same  principle  to  the  gold 
ornaments  discussed  in  another  chapter,  the  bell  with  free  clapper  instead  of  the 
rattle  proper  was  evolved. 

Battles. — All  objects  of  clay  employed  primarily  as  rattles  take  the  form  of  the 
gourd,  which,  when  dried,  makes  a  complete  rattle,  the  prototype  of  those  made 
of  clay.  One  example  (fig.  273)  belonging  to  the 
lost  color  ware  is  chosen  for  illustration.  It  is 
a  typical  specimen  with  its  globular  body  and 
rather  long  straight  neck  or  handle,  similar  in  shape 
to  the  rattles  held  in  the  right  hand  of  a  number 
of  gold  figurines  (see  PI.  XLVIII,  fig.  e).  The 
upper  part  of  the  handle  is  a  hollow  cylinder  open 
at  the  end ;  its  base  is  solid,  with  the  exception 
of  a  transverse  perforation  that  serves  as  a  means 
of  suspension.  In  the  upper  part  of  the  body,  at 
a  given  level,  are  four  slits  that  communicate  with 
the  hollow  interior.  The  latter  does  not  connect 
in  any  way  with  the  hollow  of  the  handle  or  its 
transverse  perforation.  This  specimen  comes  from, 
Divala.  Another  specimen,  unfortunately  broken,  is 
particularly  graceful  in  form,  and  has  four  cruciform 
slits  in  the  peripheral  zone.  The  scar  left  by  the 
removal  of  the  handle  shows  that  there  was  no 
communication  through  the  handle  between  the 
interior  and  the  outside.  The  dozen  or  more  oval 
pellets  of  clay  inside  are  worn  smooth  by  use. 

Drums. — This  type  of  percussion   instrument  has 
no    representative  in    the    collection,    unless    it   is 

the  specimen  figured  in  Plate  XXV  (fig.  /).  A  number  of  the  whistles  however 
have  drum-shaped  bodies,  which  fact  goes  to  prove  that,  among  the  ancient 
Chiriquians,  the  drum  was  a  familiar  object. 

Wind-instruments. — Under  this  head  may  be  grouped  by  far  the  largest  number 
of  Chiriquian  musical  instruments  of  clay.  According  to  Pinart,1  the  musical  in- 
struments of  the  present  natives  (Guaymis)  of  the  region  are  limited  chiefly  to  the 
bone  flute  and  the  marine  conch-shell.  To  these  he  adds  the  drum  made  by 
hollowing  out  the  trunk  of  a  tree  and  covering  one  end  with  skin.  Pinart,  who 
believes  the  Guaymis  to  be  the  descendants  of  the  builders  of  the  ancient  huacals, 

1  Alphonse  Pinart.     Les  indiens  de   1'Etat  de  Panama.     Rev.  d'ethnog.,  VI,  33,  117,  1887. 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  22 


Fig.  273. — Gourd-shaped    rattle, 
color  ware.     'I' 


Lost 


170  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

describes  one  of  their  ceremonies,  the  balza,  in  which  the  conch-shell  plays  an 
important  role.  I  quote  the  author's  own  words : 

Quand  un  village  a  decide  de  donner  une  balzaria  et  que  1'epoque  en  a  etc  fixee,  Ton 
expedie  des  messagers  prevenir  les  autres  villages  et  faire  les  invitations  .  .  .  On  invite  tout  le 
monde,  hommes  et  femmes,  jeunes  et  vieux.  Suivant  les  distances  a  parcourir,  chacun  par 
groupe  de  famille  se  met  en  route  de  maniere  a  arriver  au  lieu  du  rendez-vous  deux  jours 
avant  le  commencement  des  ceremonies  .  .  .  Durant  le  trajet,  les  invites  soufflent  de  temps 
en  temps  dans  de  grosses  conques  pour  que  leur  son  fasse  connaitre  a  toute  personne 
habitant  pres  du  chemin,  leur  passage  et  le  but  de  leur  voyage. 

If  these  Guaymis  are  descendants  of  the  ancient  race,  it  is  not  strange  that 
the  latter  should  have  left  behind  them  so  many  examples  of  their  wind-instru- 
ments. The  makers  were  not  satisfied  with  stopping  at  the  plain  flute  form,  or 
even  with  the  ocarina.  Their  love  for  the  plastic  life  form  is  nowhere  better 
exemplified  than  in  the  series  of  whistles  in  which  the  bird  form  is  quite  natur- 
ally the  favorite  embodiment.  On  the  other  hand,  some  animals  are  represented 
whose  cries  bear  no  resemblance  to  the  sound  of  a  whistle,  as  may  be  inferred 
from  the  following  list :  Man,  monkey,  puma,  deer,  tapir,  squirrel,  ground-squirrel, 
iguana,  armadillo,  crab,  scorpion,  parrot,  owl,  duck,  partridge,  several  species  of 
small  birds  and  other  animal  forms  that  can  not  be  definitely  determined. 

The  tail  or  a  leg  is    usually   adapted    as    a   mouthpiece    and   there    is    always 
provision  for  suspending  the   instrument,  chiefly  by  means  of  a  transverse  per- 
foration through  the  neck.     The  finger-holes,  generally  two 
^ in*.  jn  number,  have  no  fixed  position  except  in  the  bird  forms, 

where  both  are  almost  invariably  on  the  breast. 

While  the  power  and  range  of  these  whistles  and  flutes  are 
limited,  the  quality  of  the  tone  is  often  melodious.  There  are 
generally  three  whole  tones,  each  of  the  two  intervals  forming  a 
major  second.  Sometimes  the  first  interval  is  equal  to  one  and 
a  half  whole  tones,  i.  e..  a  minor  third,  making  the  compass 
from  the  lowest  to  the  highest  tone  equal  to  the  first  four 
notes  of  the  scale  instead  of  the  first  three.  The  tones  are 
Fig.277-Doubiewhistie.»/.  noted  according  to  high  pitch.  The  lowest  tone  is  produced 

with    both   finger-holes   stopped,   the   middle   tone  with  one 

hole  open  and  the  highest  with  both  holes  open.  The  holes  are  usually  so 
nearly  of  the  same  size  that  it  makes  no  difference  which  is  opened  first.  The 
pitch  can  be  made  to  vary  with  the  force  of  the  breath.  By  making  judicious 
selections,  a  number  of  instruments  may  be  played  in  unison. 

In  the  construction  of  the  whistling  apparatus  one  and  the  same  principle  is 
always  involved,  viz.,  the  directing  of  a  stream  of  air  against  a  cutting  edge  at 
the  mouth  of  a  chamber.  The  working  out  of  this  principle  in  one  of  its  simpler 
forms,  except  that  the  parts  are  in  duplicate,  is  exemplified  in  figure  274.  There 
is  a  fusion  of  two  gourd-shaped  whistles  at  the  points  of  contact  between  the 
bodies  and  at  the  termination  of  the  necks ;  the  latter  form  a  two-holed  mouth- 
piece, thus  making  it  convenient  to  blow  both  whistles  at  the  same  time.  As 
these  are  not  of  the  same  pitch,  the  result  is  a  shrill  ear-splitting  sound  that  can 
be  heard  for  a  great  distance.  On  the  other  hand,  the  two  tones  can  be  produced 


MUSICAL  INSTRUMENTS. 


171 


separately  by  covering  first  one  and  then  the  other  vent-hole.  Dr.  W.  J.  Lamson 
has  about  a  dozen  of  these  double  whistles. 

In  order  to  increase  the  range,  it  was  necessary  to  pierce   the   air-chamber  by 
means    of  finger-holes.      All    the    other    instruments    have    from    two   to    four    of 
them,   the  number  of  tones  producible   being  always  one  more  than  the  number 
of   holes.      No    account   is   taken    of    the    tones 
produced  by  increasing  the   force  of  the   breath. 
In   the  reed-shaped   instruments,    of  which    there 
are    two    in    the    collection,    additional   range-   is 
produced     by    leaving     the    cylindrical    chamber 
open  at  the  distal  end.     Figure  275  is  an  example. 
Its  range  with  the  end  of  the  chamber  first  complete- 
ly closed  and  then  entirely  opened   is  expressed 
in  the  scale  accompanying  the  figure. 

The  distal  hole  is  so  near  the  end  as  to  be  of 
no  use  when  the  latter  is  open  ;  otherwise,  two 
more  tones  could  be  added,  one  with  the  distal 
hole  open  and  one  with  both  open.  Every  pos- 
sible tone  between  the  lowest  and  highest  in  this 
scale  may  be  produced  by  only  a  partial  closing 
of  the  end,  the  pitch  depending  on  the  degree 
of  closing.  This  instrument  is  admirable  in  its 
way,  but  it  could  have  been  improved  ;  first 
by  placing  the  distal  finger-hole  a  little  farther 
from  the  end,  and  second,  by  adding  a  third 
finger-hole  nearer  the  mouthpiece.  The  colors, 
black  and  red  on  a  cream  slip,  are  perfectly 
preserved.  The  designs  are  grouped  in  two 
zones  and  represent  the  oft-repeated  alligator 
motives,  body-lines  and  body-markings. 

The  collection  includes  three  instruments  that 
differ  from  the  flute  type  only  in  the  form  of  the 
chamber,  which  is  top-shaped  instead  of  cylindrical, 
and  in  the  size  of  the  terminal  opening,  which 
is  relatively  small.  One  of  these  from  El  Banco 
is  reproduced  in  figure  276.  It  is  unpainted  and 
incised.  The  surface  of  the  fine-grained  paste  is 
blackened  by  handling.  The  vent-hole  is  at  the 

base  of  a  solid  conical  tip,  on  one  side  of  which  is  attached  a  looped  fillet  of 
clay,  enclosing  for  only  a  part  of  its  way  the  air-passage  leading  to  the  vent. 
On  the  other  side  is  a  tiny  frog  in  relief.  In  addition  to  the  hole  at  the  opposite 
end,  there  are  two  finger-holes  near  the  periphery,  by  means  of  which  three 
tones  may  be  produced  with  the  end-hole  closed  and  three  with  the  end-hole 
open.  Were  it  not  for  the  eccentric  position  of  the  vent  and  the  fillet  enclosing 
the  air-passage  of  the  mouthpiece,  this  specimen  might  be  easily  mistaken  for  a 
spindle-whorl. 


Fig.  275. — Reed-shaped  whistle  decorated 
with  alligator  motives.  Alligator 
ware.  '!<• 


172 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


sed     £rut  ofien 


Fig.  276. 


a  Fig.  278.  b 

Fig.  276. — Top-shaped  whistle  with  two  finger- 
holes  ;  from  El  Banco.  '/•„ 

Fig.  277. — Top-shaped  whistle  with  three  finger- 
holes.  Alligator  ware.  (After  Holmes.)  '/> 

Fig.  278. — End  views  of  instrument  shown  in  pre- 
ceding figure.  (After  Holmes.) 

1  Op.  cit,  figs.  245-246. 


Of  the  other  two  specimens  belonging 
to  this  general  type  one  is  unpainted  and 
incised  like  the  foregoing.  It  also  has 
but  two  finger-holes.  The  easily  break- 
able part  of  the  mouthpiece  is  lost,  thus 
increasing  the  general  resemblance  to  a 
spindle-whorl.  The  third  instrument  be- 
longs to  the  alligator  group  of  ware.  In 
general  shape  and  in  the  character  of  the 
painted  designs,  it  is  so  much  like  the 
one  reproduced  by  Holmes,1  that  I  have 
borrowed,  his  illustrations  (figs.  277  and 
278).  The  number  of  tones  that  can  be 
produced  is  the  same  for  both.  The  range 
of  the  Yale  specimen  is  given  in  the  ac- 
companying staff,  and  is  exactly  the  first 
half  of  the  diatonic  scale. 


End  closed-  End  o/^en 


With  possibly  a  single  exception,  there 
are  no  drums  in  the  collection ;  but 
there  are  a  number  of  drum-shaped  whist- 
les. One  of  the  simplest  of  these  is  of 
plain  biscuit  ware.  The  chamber  is  not 
quite  cylindrical,  the  diameter  of  one  end 
being  slightly  larger  than  that  of  the  other. 
The  smaller  end  is  surmounted  by  a  plastic 
animal  figure. 

The  combination  of  drum  and  bird  is 
seen  in  figure  279.  Here  the  drum  is  more 
nearly  conical  than  cylindrical.  Projecting 
from  its  convex  surface  are  the  head  and 
tail  of  a  bird,  the  tail  serving  as  a  mouth- 
piece. The  neck  of  the  bird  is  perforated 
for  suspension.  Two  finger-holes  are 
on  the  breast  of  the  bird,  this  number 
being  constant  unless  otherwise  stated. 
The  gently  concave  base  is  handsomely 
decorated  and  alligator  motives  cover  the 
ventral  surface  of  the  bird. 

Sometimes  the  drum  is  surmounted  by 
grotesque  life  forms  or  combinations  of  the 


MUSICAL  INSTRUMENTS. 


173 


same,  as  in  figure  280.  In  this  case,  the  diameters  of 
the  drumheads  are  equal  and  somewhat  larger  than 
the  central  diameter.  The  end  serving  as  a  base  is 
not  decorated.  The  whole  serves  as  a  pedestal  for  a 
biped  that  is  neither  man  nor  ape  nor  bird,  but  in 
some  respects  resembling  all  three.  An  elaborate  head- 
dress, painted  and  in  relief,  extends  the  length  of  the 
life  form,  downward  and  backward  till  it  comes  in 
contact  with  the  margin  of  the  drumhead  forming  the 
mouthpiece  of  the  whistle.  The  perforation  in  the 
breast  has  no  connection  with  the  whistling  apparatus. 
This  instrument  is  exactly  an  octave  lower  in  tone 
than  the  preceding. 

The  same  general  scheme,  but  with  additional 
life  forms,  is  repeated  in  figure  281.  The  undecorated 
end  on  which  the  drum  rests  is  perfectly  flat  and  is 
perforated  in  the  center  by  one  of  the  two  finger- 
holes.  The  panels  on  the  sides  are  covered  with 
familiar  alligator  motives,  as  in  the  preceding.  The 
principal  figure  in  the  group  on  top  is  half  man,  half 
beast.  Its  arms  extend  back  till  the  hands  touch  the 
arched  body  of  a  two-headed  serpent.  Attached  to  this 
body  near  the  center  of  the  arch  are  two  small  heads, 
bird  or  reptile.  There  is  also  a  prop  extending  from 
the  mouthpiece  to  the  center  of  the  arch  against  which 
the  standing  figure  leans. 

In  by  far  the  greater  number  of  cases  the  air-chamber 
of  these  wind-instruments  is  but  the  hollow  body  of 
some  life  form,  the  bird  being  the  favorite.  Among 
birds,  a  number  of  varieties  are  met  with,  the  one 
most  frequently  represented  being  the  parrot.  Pinart 
found  that  the  totemic  figure  the  most  often  used 
among  the  Guaymis  is  that  of  a  small  species  of 
parrot,  in  honor  of  which  he  heard  many  chants. 
Lionel  Wafer,1  one  of  the  early  writers,  in  discussing 
animal  life  on  the  Isthmus  says :  "  They  have  Parrots 
good  store,  some  Blue,  and  some  Green,  for  Shape 
and  Size  like  the  generality  of  the  Parrots  we  have 
from  Jamaica.  There  is  here  great  variety  of  them, 
and  they  are  very  good  Meat." 

Attention  is  again  called  to  the  series  of  bird  forms 
already  noted  in  the  discussion  of  the  alligator  group 
of  ware.  This  avian  character  originated  in  a  dis- 
tinctly globular  vase  (see  fig.  246)  having  aperture 


Fig.  279. 


Fig.  280. 

Fig.  279. — Whistle  combining  drum 
and  bird  form.  Alligator  ware.  '!> 

fig.  280. —  Drum  whistle  surmounted 
by  grotesque  biped  life  form.  Alli- 
gator ware.  l> 


1  A  new  voyage  and  description  of  the  Isthmus  of  America.     2d  ed.,  91,  London,  1704. 


174 


A  STUDY  OF  CHIRIQU1AN  ANTIQUITIES. 


and  rim ;  the  tail  and  wings  of  a  bird  in  relief  about  its  periphery ;  and  the  head,  a 
mere  protuberance  on  the  side  opposite  the  tail.  Then  followed  a  further  differentia- 
tion, especially  in  the  change  from  annular  base  to  the  bipedal  condition  (see  fig.  247). 
Lastly  the  painted  protuberance  on  the  breast  disappeared  and  a  realistic  removable 
head  was  made  to  fit  snugly  over  the  rim  on  top  (see  figs.  248,  249,  249  a).  These 
birds  represented  parrots.  We  have  among  the  whistles  the  same  parrot  form 
(PI.  XL VII),  but  much  smaller  in  size  and  with  non-removable  head.  A  closer  study 

of  figure  a  reveals  the  fact  that  the  head,  though 
firmly  united  with  the  trunk,  has  the  air  of  being 
detachable.  This  impression  is  heightened  by  the 
separation  of  the  painted  designs ;  that  on  the  head 
and  neck  from  that  on  the  body.  The  genetic  re- 
lationship goes  back  a  step  further,  as  witness  the 
red  spot  on  the  pointed  breast  (compare  with  figs.  246 
and  247). 

That  these  are  what  might  be  called  phylogenetic 
rather  than  fortuitous  characters,  is  proved  by  their 
repetition.  In  figure  6,  one  sees  again  the  vestigial 
head  on  the  breast  as  well  as  the  removable  looking 
head  on  the  neck.  Attention  is  also  called  to  a 
painted  design  on  the  back  that  resembles  the  letter 
T.  This  same  design  also  appears  on  other  spec- 
imens. The  tones  produced  by  this  whistle  are  the 
same  as  those  of  the  preceding  example. 

In  figure  c,  the  head  has  the  appearance  not  only 
of  being  removable  but  also  of  having  been  revolved 
on  its  axis  nearly  180°,  as  if  to  emphasize  this  feature. 
There  is  also  the  red  spot  on  the  breast  and 
the  T  on  the  back.  Figure  d  is  very  similar  to 
the  two  preceding,  except  that  the  red  spot  has 
disappeared  from  the  breast,  the  latter  at  the  same 
time  losing  its  pointed  character.  This  instrument 
produces  the  same  tones  as  those  represented  in 
figures  279,  298  and  301,  being  just  an  octave  higher 
than  that  illustrated  in  figure  280. 

The  head  still  sits  lightly  on  the  body  in  figure  e,  a  specimen  from  Jacu.  Here 
again  we  find  the  pointed  breast,  marked  this  time  by  a  circle  of  black  paint. 
The  wings  are  outstretched  as  if  ready  for,  or  in  the  act  of,  flight.  Instead  of 
the  T  on  the  back,  there  is  an  attractive  design  in  black  representing  some  life 
form,  a  motive  found  also  on  Nicaraguan  pottery.  A  bird  of  a  somewhat  different 
type  is  represented  in  figure  /.  The  neck  is  shorter  and  the  relatively  longer 
beak  rests  against  the  breast.  All  these  bird-whistles  can  be  made  to  stand  firmly 
on  their  feet  without  toppling  over. 

A  species  of  water-bird  is  probably  intended  in  figures  282  and  283.  In  the 
latter  the  beak  is  bent  abruptly  to  one  side  and  is  in  contact  with  the  breast 


Fig,  281. — Drum  surmounted  by  half- 
human  figure  combined  with  serpent 
and  bird  forms.  Alligator  ware.  '/• 


MUSICAL  INSTRUMENTS. 


175 


for  its  whole   length.     In   the    former   the    entire   head   is  turned  to  one  side,  the 
end  of  the  beak  resting  on  top  of  the  right  wing. 

The  characteristic  features  of  the  owl  are  well  rendered  in  figure  284.  Although 
the  head  is  proportionately  too  large,  the  effect  on  its  anatomy  of  twisting  the 
neck  to  one  side  speaks  in  every  line.  One  almost  forgets  that  it  is  made  of 


Fig.  282. — Bird-shaped  whistle.      Alligator  ware.     '/• 


Fig.   283. — Bird-shaped  whistle  decorated  with 
scale-group  symbols.     Alligator  ware.     '/« 


Fig.  284.  —  Whistle    representing    an    owl. 
ware.     V« 


Alligator  Fig.  285. — Owl-shaped    whistle    decorated    with    mul- 

tiple body-line  motive.     Alligator  ware.     '/« 


anything  so  unyielding  as  clay ;  yet  there  is  the  sharp  demarcation  between  head 
and  trunk  in  respect  to  the  disposition  of  the  delineating  colors. 

The  owl  also  comes   in  for  treatment  in  figure  285.     A  rear  view  is  given  in 
order  to  show  the  multiple  alligator  motive  on  the  back.     The  head  is  turned  to 


176 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


the  right  as  in  the  preceding,  but  it  is  a  head  of  clay  set  on  the  shoulders 
rather  than  growing  there.  It  should  be  mentioned  here  that  nearly  all  the  whistles 
figured  belong  to  the  alligator  group  of  ware. 

A  species  of  crested  partridge  is  represented  in  figure  286.  The  head  and  neck 
are  continuous  with  the  body  from  the  standpoint  both  of  modeling  and  painted 

decoration;  one  of  the  rare  ex- 
ceptions that  prove  the  rule.  This 
whistle  produces  exactly  the  same 
tones  as  those  produced  by  the 
whistles  illustrated  in  Plate  XLVII 
(figs,  a  and  b).  It  would  be  difficult 
to  determine  the  kind  of  bird  rep- 
resented in  figure  287,  an  example 
of  alligator  ware  from  Divala,  in 
which  smoke  and  much  handling 
have  almost  completely  obscured 
the  delineating  colors.  In  it  the 
two  reversionary  characters  already 
noted  are  once  more  expressed. 

A  species  of  duck,  probably  the 
teal,  is  reproduced  in  figure  288. 
Note  the  general  attitude  of  the 
head,  which  is  turned  so  that  the 
long  bill  may  have  the  protection 
of  continuous  contact  with  shoulder 
and  wing.  Fig.  289  is  not  a  very 
effective  whistle  but  a  most  inter- 
esting piece  of  modeling,  as  it 
represents  a  bird  in  the  act  of 
alighting.  This  is  told  in  the  at- 
titude of  feet,  wings,  neck  and 
head,  as  well  as  the  tail.  The 
vent-hole  is  placed  dorsally  instead 
ofventrally.  The  ware  is  unpainted ; 
the  wing  feathers  are  indicated  by 
incised  lines  and  the  body  is  marked 
by  numerous  small  annular  inden- 
tations. Two  of  these,  a  little  larger 
than  the  others,  communicate  with 
the  hollow  interior,  thus  forming 
finger-holes.  They  are  so  small 
however  as  to  be  of  little  use. 

There  is  a  single  specimen  of  armadillo  ware  among  the  bird  forms.  The 
modeling  is  indifferent.  The  head  and  feet  are  reduced  in  size,  and  the  wings 
are  entirely  wanting.  The  finger-holes  are  placed  on  the  sides,  an  exception  to 
the  rule.  The  three  tones  are  full  of  melody.  The  simplification  of  parts  is 


Fig.   286. — Whistle  representing  a  crested  partridge, 
ware.     '/' 


Alligator 


Fig.  287.  —  Bird-shaped  whistle  ;  from  Divala.    Alligator  ware. '/' 


MUSICAL  INSTRUMENTS. 


177 


marked  in  the  remainder  of  the  series.  A  good  example  of  this  is  shown  in 
figure  290,  where  the  danger  of  breaking  is  reduced  to  a  minimum.  The  range 
is  greater  than  usual,  the  first  interval  being  a  perfect  fourth  and  the  second,  a 
major  third.  On  the  neck  of  a  duck  without  head,  feet  or  wings,  there  is 
perched  a  much  smaller  duck  having  a  pair  of  heads  (fig.  291).  This  grotesque 


Fig.   288.  — Whistle    representing  a  duck.      Alligator 
ware.     '/« 


Fig.  289.  —  Whistle   representing    a   bird    in    the   ac  t 
of  alighting.      '/' 


Fig.  290.— Simplified   bird   form   of   whistle.      Alli- 
gator ware.     '/• 


Fig.  291. — Composite   bird   form    of   whistle.      Lost 
color  ware.     '/• 


Fig.  292.  — Small    bird-shaped    whistle, 
ware.     '/' 


Lost   color 


Fig.   293. — Small  bird-shaped    whistle, 
ware.     '/> 


Lost    color 


specimen  belongs  to  the  lost  color  ware.  The  small  whistles  reproduced  in 
figures  292  and  293  also  belong  to  the  lost  color  group.  The  smallest  bird- 
whistle  in  the  series  has  a  maximum  length  of  only  3.8  centimeters. 

The  crab  form  seems  to  have  appealed  to  these  ancient  whistle  makers.     The 
forms  are  varied  enough  to  suggest  familiarity  with  several  varieties.     One  of  the 
finest  examples  is  shown  in  figure  294.     The  designs  painted  on  the  back,  in- 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  23 


178 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


eluding  the  multiple  body-line  of  the  alligator,  with  accompanying  dermal  mark- 
ings, are  in  a  fine  state  of  preservation.  The  left  (and  this  is  true  of  the  whole 
crab  series)  foreleg  is  converted  into  a  mouthpiece. 

A  somewhat  different  type  of  crab  is  given  in  figure  295,  which  represents  one 
of  the  very  few  whistles  not  provided  with  some  means  of  suspension.  No  attempt 
was  made  to  account  for  the  exact  number  of  legs  in  any  of  the  crustacean  forms. 


Fig.  294.  — Whistle  representing  the  crab,  the  back 
being  decorated  with  alligator  motives.  Alligator 
ware.  '/« 


Fig-   29S- — Whistle    representing    the    crab.      Alli- 
gator ware.  '/« 


Kig.   296.  —  Whistle  representing  a  round-bodied  crab. 
Alligator  ware.     '/« 


Fig.  297. — Whistle  representing  a  scorpion,  with 
alligator  motives  decorating  the  sides.  Alligator 
ware.  */« 


They  are  all  so  fashioned  as  to  stand  on  four  legs  like  a  quadruped,  but  also 
have  an  additional  first  pair  armed  with  large  claws  like  chelipeds  and  serving  as 
weapons  rather  than  as  supports.  The  tones  produced  in  these  two  crab-whistles 
are  exactly  the  same.  The  artist  was  often  very  successful  in  giving  concrete 
expression  to  an  idea.  This  is  seen  in  the  representation  (fig.  296)  of  a  round- 
bodied  crab  just  ready  to  strike.  The  left  foreleg,  converted  into  a  mouthpiece, 


MUSICAL  INSTRUMENTS. 


179 


Fig.  298. —  Whistle  in  the  form  of  a  coiled  snake. 
Lost  color  ware.     '/' 


emulated  so  closely  the  head  and  beak  of  a  bird  that  eyes  have  been  painted  on, 
thus  heightening  the  resemblance.  The  chelipeds  are  both  perforated  for  suspen- 
sion. 

The  scorpion  was  likewise  given  only  four  legs  in  addition  to  the  first  pair 
(fig.  297).  The  long  tail  is  flexed  sharply  till  it  comes  in  contact  with  the  back, 
forming  in  this  manner  a  loophole  by  which  the  figurine  may  be  suspended. 
The  sides  are  decorated  with  the  multiple  body-line  of  the  alligator  and  its  scale 
symbols. 

Among  reptiles,  there  is  a  good  represen- 
tation of  a  coiled  snake  with  laterally 
flattened  head  (fig.  298).  The  mouthpiece 
is  built  on  the  lower  ring  of  the  coil,  the 
end  of  the  tail  being  hidden  underneath 
the  mass.  The  specimen  belongs  to  the 
lost  color  ware,  and  the  decoration  has  been 
almost  completely  lost  through  the  rubbing 
off  of  the  black  paint. 

There  is  a  composite  form  representing 
an  iguana  and  snake,  the  flat-headed  snake 
forming  a  crest  the  entire  length  of  the 
iguana  (fig.  299).  The  neck  of  the  snake 
is  arched,  forming  a  loophole  for  suspen- 
sion ;  its  body  and  tail  fuse  with  the 
crest  of  spines  along  the  back  and  tail  of 
the  iguana.  The  dewlap  is  conspicuous. 
The  right  forefoot  is  converted  into  the 
mouthpiece  of  the  whistle,  which  is  capable 
of  producing  three  clear  and  musical  tones. 
A  panel  on  each  side  of  the  whistle  is  or- 
namented with  the  oft-recurring  multiple 
alligator  motive. 

Various  quadrupeds  are  included  in  the 
present  series.  The  form  can  usually  be  de- 
termined by  the  successful  rendering  of  some 
distinctive  character.  When  doubt  exists,  it 
is  as  much  due  to  our  lack  of  knowledge  of 
isthmian  fauna  as  to  any  shortcoming  on 

the  part  of  the  artist.  Figure  300  is  an  example  of  one  of  the  doubtful  cases. 
In  figure  301,  more  attention  is  given  to  detail,  especially  in  the  modeling  of  the 
head,  which  is  partially  separated  from  the  body  by  a  constriction.  The  most 
plausible  explanation  of  this  is  seen  in  the  series  of  birds  with  removable  heads. 
This  specimen,  like  the  preceding,  belongs  to  the  lost  color  ware. 

One  is  impressed  by  the  sincerity  of  the  attempt  to  represent  some  tardigrade 
species  (fig.  302).  This  instrument  is  apparently  the  work  of  an  apprentice  unaided 
by  any  knowledge,  technical  smartness  or  trickery,  and  as  such  is  full  of  interest. 
It  belongs  to  the  armadillo  ware.  There  is  a  single  clay  pellet  in  each  hollow 


Fig.  299.— Composite  form  consistig  of  the  iguana 
and  snake,  the  sides  being  decorated  with  the 
multiple  alligator  motive.  '/« 


180 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


leg,  also  one  in  the  cavity  common  to  both  head  and  neck,  so  that  we  have  to 
do  with  a  rattle  as  well  as  a  whistle.     The  representation  of  the  armadillo  (fig.  303). 


Fig.  300.— Whistle   in   the  shape  of  a  quadruped. 
Lost  color  ware.     '/« 


Fig.   301. — Whistle  in  which  the  head  has  the  ap- 
pearance of  being  removable.    Lost  color  ware.  '/< 


although  not  more  realistic  than  the  foregoing,   evinces  a  higher  degree  of  pro- 
fessional skill.     The  characteristics  of  the  carapace  are  brought   out  by  relief  as 

well  as  by  the  red  and  black 
colors  common  to  all  alligator 
ware.  The  neck  is  perforated 
for  suspension. 

The  primitive  artists  may 
or  may  not  have  been  divided 
into  incipient  schools  of 
thought  and  expression.  If 
they  were,  the  influence  of 
academic  canons  must  'have 
been  strong.  The  animal  in 
repose,  that  is  to  say  not  in 
action,  was  the  chosen  model. 
Once  in  a  while  however  an 
artist  breaks  the  bonds  of 
classic  restraint  and  produces 
new  and  admirable  results, 
as  in  the  case  of  the  bird 
alighting.  Another  notable 
example  may  be  seen  in  the 
squirrel  (fig.  304)  feeding 
on  a  nut  that  is  held  be- 
tween the  uplifted  forefeet, 
the  body  lifted  and  supported 
by  the  hindlegs.  The  mul- 
tiple alligator  motive  is  paint- 
303.— Whistle  representing  the  armadillo.  Alligator  ware.  '/«  ed  On  both'sides  of  the  body. 


Fig.  302. — Figurine  serving  as  both  whistle  and  rattle.    Armadillo  ware.'/* 


MUSICAL  INSTRUMENTS. 


181 


It  will  be  seen  from  the   accompanying  staff  that  the  tones  are  the  same  as  in 
two  of  the  crab-whistles  (see  figs.  294  and  295). 

Rather  infrequently,  locomotion  is  expressed  by  extending  the  legs  both  forward 
and  backward,  as  in  figure  305,  which  also  is  evidently  intended  for  a  squirrel ;  but 
the  sense  of  motion  is  not  imparted  to  the  rest  of  the  body.  The  characteristic 


Fig.  304. — Whistle  representing  a  squirrel  feeding, 
the  sides  being  decorated  with  the  multiple  alligator 
motive.  Alligator  ware.  '/' 


Fig.  305. — Whistle  representing  a  squirrel  in  motion, 
the  alligator  motive  appearing  in  the  panels  decorat- 
ing the  sides.  Alligator  ware.  '/• 


sharply  recurved  tail  extends  forward  almost  to  the  back  of  the  head.  One  finger- 
hole  is  placed  ventrally  and  the  other  on  the  left  side.  Attention  is  called  to  the 
alligator  motive  in  the  panel  that  covers  each  side.  At  least  four  species  of  squirrel 
are  found  in  Panama. 

An  effort  to  avoid  the  stereotyped  form  is  sometimes  seen  in  the  turning  of 
the  head,  as  if  to  look  back  or  to  one  side.  This  is  true  of  the  striped  creature 
reproduced  in  figure  306.  The  mark- 
ings of  the  body  suggest  the  ground- 
squirrel,  while  the  head  and  mouth  are 
more  like  those  of  the  cat  tribe.  This 
instrument  agrees  in  tone  with  that  in 
figure  299.  Similar  longitudinal  stripes 
are  present  in  figure  307 ;  but  in  this 
instance  the  nose  and  mouth  are  more 
like  those  of  the  tapir.  The  two  finger- 
holes  are  placed  on  the  shoulders.  The 
tones  of  this  whistle  are  the  same  as 
those  in  figures  300  and  305  and  an 
octave  lower  than  those  in  figure  292. 

There  is  no  mistaking  the  intent  of 
the  one  who  modeled  figure  308,  al- 
though the  end  of  the  tapir's  nose  has  been  broken.  The  short  lower  jaw  is 
indicated  by  a  slit  on  either  side.  The  skill  in  modeling  is  surpassed  only  by  that 
in  the  application  of  the  paint.  With  the  exception  of  a  red  spot  under  each 


Fig.  306.- — Whistle  suggesting  the  ground-squirrel,  though 
the  head  is  catlike.     Alligator  ware.     '/' 


182 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Fig.   307. — Whistle  with  tapir-like  head.      Alligator  ware.     'I' 


ear,   black   alone  is  used.     The   series  of  lines  on  the  head,  back  and  legs  are 
fine,  clean-cut,  straight  and  parallel.    This  is  particularly  true  of  the  five  longitudinal 

lines  along  the  back  that  seem 
almost  too  perfect  to  have  been 
done  by  free  hand.  The  char- 
acter of  the  painted  decoration 
on  this  figurine  may  be  taken 
as  a  clue  to  the  particular  species 
of  tapir  with  which  the  ancient 
Chiriquian  was  most  familiar. 
Tapirus  dowii,  when  full-grown, 
is  a  nearly  uniform  blackish 
brown.  It  is  said  to  be  unspotted 
when  young.  On  the  other  hand, 
Tapirus  bairdii,  when  young,  is 
irregularly  marked  with  white 
spots  and  stripes.  The  whistle 
in  question,  therefore,  evidently 
represents  the  young  of  Tapirus 
bairdii.  The  larger  vesicular  forms 
of  the  tapir  (see  PI.  XLI1I,  fig.  c 
and  text-fig.  245)  may  also  be 
referred  to  the  same  species  and 

§,  j  J~r/;«|||  |  MP'  \  im  to  the  adult  stage  after  the  coat- 

'  *  ^^^liJF  ^9  ing  nas  become  a  uniform  color. 

The  right  foreleg  forms  the  mouth- 
piece to  the  whistle.  The  two 
finger-holes  are  placed  at  the 
anal  opening  and  on  the  left 
shoulder,  respectively. 

A  species  of  tiger-cat  is  rep- 
resented in  figure  309.  It  is  ap- 
parently in  motion  and  the  at- 
titude of  the  head,  which  is  hollow 
and  supplied  with  a  clay  pellet, 
adds  interest  to  the  composition. 
The  decoration  is  unusually  well 
preserved.  The  range  from  the 
lowest  to  the  highest  tone  is  much 
less  than  in  the  preceding  whistle. 

Peculiar  interest  attaches  to 
the  frequent  representations  of 

Fig-  3°9- — Whistle  representing  a  species  of  tiger-cat,    the  head        .,  ,  ,-,,  . 

also  serving  as  a  rattle.     Alligator  ware.     '/•  the  Jaguar>   "Ot   Only  among  Chl- 

riquian  whistles,  but  also  as  plastic 

ornaments  on  zoormorphic  forms  of  vessels  (see  PI.  XLI,  figs,  c  and  d;  PL  XLIII, 
figs,   a  and  b ;  text-fig.   244).      In   Mexican    mythology,    the  jaguar  is  intimately 


Fig.   308. — Whistle  evidently  representing  the  young  of  Tapirus 
bairdii.     Alligator  ware.     V* 


MUSICAL  INSTRUMENTS. 


183 


associated  with  musical  instruments.  It  appears  in  the  form  of  Tepeyolldtli,  the 
"Heart  of  the  mountains,"  the  eighth  of  the  nine  lords  of  the  night  hours.1 
Tepeyollotli  is  also  met  with  as  lord  of  the  third  day-count  and  of  the  third 
Tonalamatl  division,  where  he  is  represented  in  the  form  of  a  jaguar  and  is  ex- 
plained as  the  "Echo  in  the  mountains"  (el  retumbo  de  la  voz,  cuando  retumba 
en  un  voile  de  un  cerro  al  otro).  The  roar  of  the  jaguar  is  thus  brought  into 
direct  association  with  the  "Echo  in  the  mountains."  In  a  Codex  Borgia 
figure,  Tepeyollotli  blows  a  shell-horn.  In  other  cases  the  shell  is  worn  as  a 
breast  ornament,  or  is  otherwise  associated  with  the  ged.  Tepeyollotli  is  also 
the  name  of  th'e  Mexican  god  that  is  combined  with  the  drum,  just  as  we  found 
deities  associated  with  some  Chiriquian  drum-whistles  (see  figs.  280,  281).  Equally 
significant  is  the  double-headed  jaguar  shown  in  figure  310.  In  each  mouth,  there 
is  what  might  well  be  considered  a  musical  instrument  held  to  the  lips  by  means 
of  the  forefeet.  Holmes,  who  figured  a  whistle  with  four  jaguar  heads,  spoke  of 


Fig.   310. — Whistle  representing  a  double-headed  jaguar,  both  necks  being  perforated, 
the  heads  serving  as  rattles.     Alligator  ware.     '/« 


the  objects  held  to  the  mouths,  as  tongues.  Such  is  not  the  case  with  the  Yale 
specimen,  because  the  object  extends  into  the  mouth  only  as  far  as  the  front 
teeth.  Moreover,  each  instrument  is  held  in  place  by  the  fingerlike  toes  of  the 
forefeet.  We  have  here  therefore  the  counterpart  of  the  Mexican  Tepeyollotli, 
symbolizing  the  "  Echo  in  the  mountains."  The  two  finger-holes  are  both  on  the 
opposite  side  of  the  figure.  The  tones  are  the  same  as  in  the  preceding  whistle 
and  are  full  of  melody.  The  paint  near  the  finger-holes  is  much  worn,  evidently 
from  use.  Both  necks  are  perforated.  The  ear-holes  lead  to  the  head  cavities, 
each  of  which  is  supplied  with  clay  pellets. 

Another  smaller  specimen  of  the  jaguar,  with  mouth  open  as  if  uttering  a  cry, 
is  shown  in  figure  311.  No  instrument  therefore  is  necessary  to  suggest  the 
"  Echo  in  the  mountains."  It  should  be  noted  in  this  connection  that  the  Chiri- 

1  Codex  Borgia;  and  Codex  Vaticanus,  no.  3773,  Seler's  elucidation,  103. 


184 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


quians  almost  always  represented  the  jaguar  as  in  the  act  of  roaring,  a  fact  of 
special  significance,  when  viewed  in  the  light  of  our  knowledge  of  the  role  played 
by  the  jaguar  in  Mexican  and  Mayan  mythology.  According  to  Dr.  W.  Stempell,1 
it  is  figured  in  all  four  of  the  known  Mayan  codices.  The  tail  of  the  specimen 
in  question  is  curved  to  one  side  the  end  touching  the  hip.  The  patterns  in 
black  and  red  on  zoomorphic  forms  belonging  to  the  alligator  ware  are,  as  a  rule, 
either  purely  geometric  or  referable  to  the  alligator  motives  rather  than  to  the 


fig.  311.— Jaguar-shaped  whistle  with  ocellated  mark-  Fig.   312. — Whistle  in  the  shape  of  a  deer.     Alligator 

ings  of  the  jaguar.     Alligator  ware.     '/«  ware.     '/• 


Fig.   313. — Whistle  representing   a  deer   apparently  making 
an  attack.     Alligator  ware.  */« 


Fig.   314. — Monkey-shaped     whistle    with     three 
finger-holes.     '/' 


body-markings  of  the  animal  under  consideration.  But  in  these  two  jaguar-whistles, 
the  markings  are  true  to  nature  —  rings  enclosing  spots.  This  and  the  following 
whistle  are  alike  in  pitch. 

Among  ruminants  Seemann  found  the  Venado,  a  species  of  deer,  roaming  in 
herds  over  the  savannas.  This  animal  is  probably  represented  in  figures  312  and 
313.  Cariacus  virginianus  is  the  species  found  in  Panama.  Special  attention  is 

1  Die  Tierbilder  der  Mayahandschriften.     Zeitschr.  f.  Ethnol.,  XL,  704,  1908. 


MUSICAL  INSTRUMENTS. 


185 


given  to  the  head  in  each.  The  teeth  are  rather  conspicuous.  In  both  figures 
one  finger-hole  is  placed  on  the  belly  and  the  other  on  the  side,  the  left  side 
in  the  smaller  of  the  two.  The  larger  one  seems  to  be  making  an  attack,  the 
head  being  turned  so  as  to  bring  the  horns  into  place.  The  tones  of  this  whistle 
are  particularly  pleasing. 

One  of  the  most  realistic  forms  is  that  of  the  monkey  shown  in  figure  314. 
The  paste  of  which  it  is  composed  is  coarse  and  dark,  the  surface  being  covered 
for  the  most  part  by  a  red  slip  on  which  there  are  no  delineating  colors.  The 
piece  therefore  does  not  belong  to  the  alligator  ware  as  is  the  rule  for  the 
whistles;.  The  legs  are  broken.  The  long  fingers  of  the  two  hands  grasp  either 
end  of  a  cylindrical  bar,  the  middle  part  of  which  is  held  in  the  mouth.  The 
bar  is  perforated  transversely  at  a  median  point,  as  if  it  were  intended  to  represent 
a  whistle.  There  are  three  finger-holes  to  the  air-chamber ;  two  dorsal  and  one 
ventral,  so  that  four  tones  ma}'  be 
produced  without  resort  to  more 
than  a  partial  stopping  of  any  of 
the  holes  by  means  of  special  finger- 
ing. 

FigureSlo  represents  an  exception- 
ally well  preserved  piece.  The  at- 
titude of  the  body  is  birdlike.  The 
feet  are  characteristic  for  both  bird 
and  man  or  monkey.  The  arms 
are  those  of  either  man  or  monkey, 
and  the  head  is  apelike.  Something 
resembling  a  fish  is  held  in  the  hands. 
The  mouth  is  open,  revealing  the 
teeth.  There  is  a  motive  similar  to 
this  in  Peruvian  art  —  a  bird  hold- 
ing a  fish  —  found  especially  at  lea. 
An  analogous  idea  is  expressed  in 

one  of  the  gold  ornaments  (see  PI.  XLIX,  fig.  a),  where  the  object  held  to  the 
mouth  may  be  a  fish  or  a  conch-shell.  One  of  the  finger-holes  in  our  specimen 
is  ventral,  the  other  on  the  left  shoulder.  The  tones  are  exceedingly  clear  and 
musical.  Although  the  painted  designs  are  broadly  similar  on  the  two  sides,  there 
is  no  striving  after  exact  bilateral  symmetry  in  this  respect.  Both  red  and  black 
are  employed  on  the  right  side  of  the  head  and  neck,  while  on  the  left  side 
black  only  is  used  and  with  slight  variations  in  the  design. 

Another  combination  of  man  and  beast  is  shown  in  figure  316.  There  being 
no  tail,  the  right  arm  is  converted  into  a  mouthpiece.  One  hand  or  something 
held  in  it  is  pressed  to  the  mouth.  The  left  arm  is  akimbo  with  the  hand  held 
against  the  breast  near  a  small  protuberance  resembling  a  nipple.  The  two  finger- 
holes  are  placed  dorsally  on  the  periphery.  The  back  of  the  head  and  neck  is 
marked  by  black  lines  that  reach  to  the  shoulders  —  the  characteristic  way  of 
representing  human  tresses. 

The  form  reproduced  in  figure  317   is  presumably  that  of  a  monkey,   although 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  24 


Fig-   3l5-~~ Figurine  serving  as  a  whistle  and  representing  a 
mythical  form  with  mixed  attributes.     Alligator  ware.    ''• 


186 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


the  pose  is  avian.  Both  arms  are  bent  sharply  backward,  the  right  hand  grasping 
the  end  of  the  tail  and  the  left  resting  against  the  back.  The  black  color  is 
used  much  more  extensively  than  the  red,  the  latter  appearing  only  on  the  throat 
and  as  three  longitudinal  bands  on  the  breast.  There  are  duplicates  of  this  form 
in  the  collection. 

One  of  the  most  interesting  of  the  whistle  figurines  is  a  three-headed  monster 
with  human  attributes  (fig.  318).  The  central  head  is  the  largest;  the  others, 
alike  in  size,  are  situated  at  the  angle  of  the  shoulders.  The  group  suggests  the 


?ig.  316.  -  Figurine  serving  as  a  Fig.  317. — Whistle  presumably  rep- 
whistle.  The  pose  is  human  ;  the  resenting  a  monkey,  although 
right  arm  is  converted  into  a  the  pose  is  avian.  Alligator 
mouthpiece.  Alligator  ware.  '/•  ware.  '/• 


Peruvian  pottery  figurine  of  Tunapa  placed  between 

his  two  sisters.     The  legs  are  short,  body  long  and 

attitude  erect.     The  two  finger-holes  are  in  front,  and 

the   mouthpiece   stands    out  from  the  back  at  nearly 

right  angles.     Human  tresses  are  represented  in  black 

on  all  three  heads,  and  in  each  of  the  three  mouths 

is  an   object  resembling  a  protruding  tongue,   or  an 

instrument   of  music   similar  to  that   held    in   the    mouths    of  the  double-headed 

jaguar  (see  fig.  310).     A  multiple  alligator  motive  encircles  the  common  body. 

It  has  been  already  mentioned  that  the  ancient  Chiriquian  artist  was  not  very 
successful  in  his  portrayal  of  the  human  form  and  features.  Figure  319  is  an 
exception  that  proves  this  rule.  It  consists  of  the  head  only,  with  the  hair  so 
arranged  as  to  form  a  projection  on  the  back  for  the  mouthpiece  to  the  whistle. 
One  finger-hole  is  in  front  of  the  right  ear  and  the  other  on  the  throat.  The 
modeling  is  done  with  a  high  degree  of  skill  and  knowledge  of  facial  topography, 


Fig.  3 1 8. — Whistle  figurine  represent- 
ing a  three-headed  monster  with 
human  attributes  ;  the  multiple  al- 
ligator motive  encircles  the  body. 
Alligator  ware.  */< 


MUSICAL  INSTRUMENTS. 


187 


except  that  the  size  of  the  mouth  is  somewhat  exaggerated.  The  lips  are  parted, 
revealing  the  teeth,  which  are  closed.  The  region  about  the  mouth  is  painted 
red.  Alternating  groups  of  black  and  red  longitudinal  lines  cover  the  face  from 
the  hair  down  to  the  level  of  the  nostrils.  There  is  a  black  pattern  about  the  eyes 
not  unlike  a  pair  of  goggles,  except  that  there  is  no  connection  over  the  bridge 
of  the  nose.  The  black  hair  is  combed 
back  and  brought  together  forming 
the  mouthpiece  to  the  whistle.  Strange 
to  say,  no  effort  was  made  at  model- 
ing -the  ears,  which  stand  out  at 
right  angles  to  the  sides  of  the  head. 
The  left  ear  is  perforated  for  sus- 
pension. 

In  figure  320  the  artist  reverts  once 
more  to  the  primitive  stereotyped 
form  resembling  the  head  of  a  ro- 
dent or  of  a  bird  almost  as  much  as  ^^^KBb^^Sii  W^  0 
it  does  that  of  man.  The  mouth- 
piece at  the  back  is  treated  as  if  it 
were  the  tail  of  an  animal.  One 
finger-hole  is  in  front  of  the  right 
ear  and  the  other  near  the  top  of 
the  head  on  the  same  side.  As  in 

the  preceding  figure,  the  face  is  marked  by  alternating  groups  of  black  and  red 
lines,  which  in  this  case  are  wavey  instead  of  straight.  Much  ingenuity  was 
exercised  in  representing  the  eye  by  means  of  intaglio. 


Kigurc  319.  -Whistle  representing  a  carefully  modeled  human 
head.     Alligator  ware.     V* 


gird 


ig.  320.  —  Whistle  representing  the  human  head. 
Alligator  ware.     '/« 


Fig.  321.  — Diminutive  tripod  with  bird-shaped  whistle 
attached  to  one  side.     Armadillo  ware.     '/« 


The  series  of  whistles  ends  with  a  diminutive  tripod  bowl  (fig.  321),  to  one  side 
of  which  is  attached  an  air-chamber  with  mouthpiece.  This  whistling  apparatus 
takes  the  form  of  a  bird,  the  head  of  which  has  been  broken  off.  The  very 
small  finger-holes  are  placed  on  either  side  of  the  missing  head.  The  tones 


188 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


are   the    highest   of  any  in    the   entire  group   of  whistles,  being  just   an   octave 
higher  than  those  of  the  instrument  reproduced  in  figure  318.     The  piece,  which 

comes  from  Escaria,  belongs  to  the  armadillo  ware. 
A  small  cup  (fig.  322)  is  described  here  because 
there  is  attached  to  its  shoulder  a  make-believe 
whistle.  The  latter  is  shaped  like  a  fish,  except 
that  head  and  tail  are  both  lifted ;  the  end  of  the 
latter  is  slit  to  resemble  a  mouthpiece,  and  near  its 
base  is  another  incision  where  the  vent  ought  to  be. 
This  cup,  the  surface  of  which  is  discolored  by 

Fie.   322. — Small      cup     with     false  111  •    i    j       i  e 

whistle  attached  to  the  shoulder.  •/•     smoke,  belongs  to  the  unpamted  class  of  ware. 


METAL. 

When  America  was  dicovered,  its  races  were  still  on  the.  threshold  of  the  metal 
age.  In  regions  favored  by  the  presence  of  gold,  silver,  copper  and  their  alloys, 
however,  certain  peoples  had  already  achieved  remarkable  results  in  metal  work. 
This  is  particularly  true  of  the  region  extending  from  Mexico  on  the  north  to 
_  Peru  on  the  south.  If  the  thirst  for  geographic  knowledge  impelled  Columbus 
to  make  his  voyages  of  discovery,  hunger  for  gold  was  the  mainspring  of  the 
Spanish  Conquest  which  followed.  Barbaric  wealth  of  gold  and  the  barbaric  point 
of  view  as  to  its  relative  value  served  to  turn  the  heads  of  the  early  explorers, 
leading  eventually  to  the  practical  extermination  of  the  conquered  and  the  ultimate 
downfall  of  the  conquerors. 

Curiously  enough,  Columbus  saw  very  little  of  the  mainland  of  the  Western 
Hemisphere  —  only  a  part  of  the  northern  coast  of  South  America,  which  he  ex- 
plored on  his  third  voyage ;  and  the  coast  of  Central  America  from  Guanaja 
Island,  off  Honduras,  to  a  point  about  half-way  between  Colon  and  the  Gulf  of 
Darien,  which  he  discovered  on  his  fourth  and  last  voyage.  It  was  Columbus, 
therefore,  who  discovered  Chiriqui  and  who  was  the  first  to  observe  the  gold 
and  copper  ornaments  worn  by  the  natives.  When  on  September  25th,  1502,  the 
expedition  cast  anchor  near  the  mouth  of  San  Juan  de  Nicaragua,  Columbus  noted 
that  some  of  the  natives  wore  plates  of  low-grade  gold  (guanin)  and  others  wore 
jewels  of  the  same  metal  suspended  about  the  neck. 

The  coast  of  Chiriqui  was  reached  in  October,  the  ships  of  Columbus  entering 
Almirante  Bay  (see  map)  through  Bocas  del  Toro.  At  a  port  on  one  of  the  islands 
in  the  bay,  the  explorers  saw  twenty  canoes  anchored.  According  to  Acosta's1 
account,  "  the  natives  wore  plates  of  fine  gold  suspended  from  the  neck."  As 
these  were  the  first  examples  of  pure  gold  the  Spaniards  had  seen  along  that 
coast,  they  took  by  force  from  two  of  the  natives  the  ornaments  which  the  latter 
had  refused  to  exchange  for  Spanish  trinkets.  The  gold  ornaments  taken  from  one 
weighed  twenty-two  ducats ;  those  taken  from  the  other,  fourteen.  The  inhabitants 
assured  the  Spaniards  that  gold  was  to  be  found  at  a  number  of  localities  to  the 
south  and  west,  one  of  which  was  called  Veragua.  This  name  seems  to  have 
taken  a  firm  hold  on  the  imagination  of  the  explorers,  becoming  in  their  minds 
the  synonym  of  wealth.  Columbus  called  this  coast  Costa  de  los  Contrastes  and 
afterward  Costa  Rica  and  Costa  de  Veragua.  A  few  years  later  the  name  Castilla  del 
Oro  was  given  to  the  entire  isthmian  region. 

On  their  way  eastward,  after  leaving  Almirante  Bay,  the  explorers  entered  a 
number  of  rivers,  where  they  were  generally  successful  in  exchanging  worthless 
trinkets  for  gold  ornaments.  At  Puerto  del  Betrete,  Columbus  decided  to  return  to 
Veragua  in  search  of  gold.  Ascending  the  Urira  river,  gold  mines  were  found  at 
its  head  waters.  The  explorations  were  extended  in  the  direction  of  Bocas  del 
Toro  as  far  as  Cateba,  and  netted  much  golden  booty  obtained  from  the  Indians. 

1  Joaquin  Acosta.     Compendio  historico,  segunda  ed.,  4,  Bogota,  1901. 


190  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

In  his  explorations  on  the  Isthmus  a  few  years  later,  Vasco  Nunez  de  Balboa 
was  even  more  successful  in  wresting  from  the  native  chiefs  their  golden  treasures. 
From  Chiapes  he  received  "  five  hundred  pounds  weight  of  wrought  gold,"  and 
from  another  cacique,  Tumaco,  "jewels  of  gold  weighing  six  hundred  and  fourteen 
crowns."  l  On  his  return  trip  across  the  Isthmus,  Balboa's  net  booty  from  three 
chiefs  and  their  followers  amounted  to  14,000  crowns. 

Seemann  speaks  of  copper  and  gold  being  found  all  over  Panama.  He  states 
that  as  long  as  the  Spaniards  retained  possession  of  the  country,  the  extraction 
of  gold  was  carried  on  to  some  extent,  certain  mines  being  very  productive. 
"  The  most  important  were,  and  still  are,  those  of  the  Mineral  de  Veraguas.  The 
gold  is  found  there  on  the  plains,  and  large  pieces  are  also  obtained  from  the 
beds  of  rivers  and  rivulets."  The  mines  of  Estrella  in  Chiriqui  are  mentioned  as 
having  been  celebrated  and  as  still  holding  a  place  in  the  traditions  of  the  country. 

J.  H.  Smith,2  a  contemporary  of  Seemann,  states  that  tradition  bears  witness 
to  the  auriferous  richness  of  the  lands  sloping  from  the  volcano  of  Chiriqui  toward 
Punta  Burica.  He  locates  the  gold  mine  of  Tisingal,  one  of  the  richest  ever 
worked  by  the  Spaniards,  as  being  "behind  the  volcano  of  Chiriqui  and  among 
the  range  of  the  spurs  of  the  Cordillera,  forming  the  northern  limits  of  Burica." 
According  to  the  same  author,  gold  is  found  at  Guanavano,  Charco  Azul  and  in 
an  extensive  quartz  formation  at  Las  Brenas  that  is  visited  regularly  by  the  Indians 
of  Terrora,  who  grind  the  rock  and  extract  the  gold.  This  locality  is  on  the  road 
leading  from  the  territory  of  Burica  to  Costa  Rica. 

In  a  recent  article  Mr.  Charles  Melville  Brown8  also  discusses  Tisingal.  He 
says  that  somewhere  on  the  immense  slopes  of  the  volcano  of  Chiriqui,  probably 
in  the  district  of  Bugaba,  "  lies  the  lost  mine  of  the  Indians,  '  Tisingal,'  known  to 
and  worked  by  the  early  Spanish  settlers,  who  changed  its  name  to  '  La  Estrella.' " 
Brown  also  states  that  during  the  year  1833-'34,  some  old  official  documents 
relating  to  this  mine  were  found  in  the  archives  at  Cartago,  Costa  Rica.  He 
gives  a  translation  from  one  of  these  documents,  which  will  throw  some  light  on 
the  possibilities  of  placer  mining  by  the  Indians  of  Chiriqui: 

"  In  1587  Don  Diego  de  Sojo,  Captain  of  the  Guard  of  the  Governor  of  Veraguas, 
set  out  from  Santiago  de  Veraguas  to  explore  this  little-known  part  of  the  King's 
province,  and  in  his  report  to  the  Governor  of  Veraguas  he  says : 

The  quantity  of  gold  that  abounds  here  is  great  and  of  good  karat,  as  can  be 
seen  from  the  plates  of  gold  the  Indians  beat  out,  it  not  being  alloyed  with  other 
metals.  The  rivers  abound  with  gold,  besides  there  being  other  precious  metals 
in  all  the  ranges  of  the  Province  extending  over  an  area  of  20  leagues  on  the 
shores  of  Almirante  Bay,  called  thus  as  it  was  discovered  by  Admiral  Colon 
(Christopher  Columbus) ;  being  on  the  very  coast  of  Veraguas,  a  distance  of  some 
15  or  20  leagues  from  the  Escudo  de  Veraguas  (a  small  island  near  the  mouth 
of  the  Chiriqui  Lagoon  on  the  Atlantic). 

1  Irving.     Life  and  voyages  of  Christopher  Columbus,  III,  147,  1892. 

2  Observations  on  the  territory  of  Burica,  in  the  province  of  Chiriqui,  Isthmus  of  Panama. 
Jour.  Roy.  geographic  soc.,  XXIV,  257,  1854. 

3  Tisingal,  The  lost  mine  of  Panama.     Bull.  Inter,  bur.  Amer.  republics,  XXX,  424,  1910. 


METAL. 

But  the  greatest  quantity  of  gold  exists  in  the  hills  of  Corotapa,  on  the  shores 
of  the  same  bay  near  the  banks  of  the  Rio  de  la  Estrella  (River  of  the  Star  —  now 
supposed  to  be  the  Changuinola  River),  a  prodigious  river  and  the  richest  in  the 
world,  whose  sands  are  of  gold ;  defended  and  guarded  by  a  bellicose  nation  that 
lives  along  its  banks  at  its  mouth  at  the  place  known  as  Horobaros  .  .  . 

And  the  Indians  extract  gold  with  calabashes  in  very  large  grains,  and  a  cacique 
of  the  same  town  named  Ucani  works  it  into  the  said  pieces  .  .  . 

From  these  same  hills  Captain  Munoz,  Sergeant-Major  of  Don  Perafan  de  Ribera, 
Governor-General  and  Captain  that  he  was  of  Costa  Rica  —  took  from  the  tombs 
of  the  dead,  which  he  found  one  league  inland  from  the  coast,  such  a  great 
quantity  of  gold  as  to  swell  two  large  chests  of  the  kind  in  which  shoes  and 
nails  for  the  cavalry  are  brought  over  from  Castile.  And  being  covetous  of  more 
treasure  he  started  inland  with  60  men  he  had  with  him,  leaving  the  two  chests 
buried  at  the  foot  of  a  ceiba  tree,  well  locked  and  nailed,  and  started  inland  in 
search  of  the  Indian  village.  But  after  having  traversed  hardly  a  league  he  was 
attacked  by  such  a  number  of  natives  that  some  of  his  companions  were  killed, 
he  turning  and  fleeing  pursued  by  the  natives  to  the  very  waters  of  the  sea;  and 
with  difficulty  did  he  embark  in  his  frigate  and  escape,  leaving  his  heart  buried 
at  the  foot  of  the  ceiba  tree  where  he  had  left  the  chests  of  gold,  and  where 
they  remain  to  this  day." 

According  to  Brown  the  search  for  the  golden  treasure  of  Tisingal  still  continues. 
"  During  the  dry  season  of  1909  there  was  discovered  about  four  days '  journey 
from  the  present  town  of  Bugaba  a  l  guacal '  or  burying  ground,  from  which  there 
has  been  taken  over  $25,000  worth  of  gold  up  to  the  present  time.  This  '  guacal ' 
is  located  in  the  district  of  Corregidor,  and  as  many  as  400  natives  have  been 
at  work  in  it  at  one  time.  Don  Antonio  Anguizola,  Governor  of  Chiriqui,  has 
sent  out  a  party  of  20  men  in  search  of  other  '  guacales,'  and  it  is  not  improbable 
that  during  the  present  dry  season  others  will  be  located  .  .  .  The  gold  ornaments 
are  usually  found  in  the  bottom  of  the  grave,  arranged  as  though  they  had  been 
on  the  breast  of  the  body  at  the  time  of  burial.  Sometimes  the  ornaments  are 
found  in  one  of  the  '  cantaros '  or  little  drinking  jars,  and  in  several  graves  recently 
opened  it  was  found  under  the  second  slab.  A  few  years  since  an  Englishman 
in  Boquete  opened  a  grave  from  which  he  took  over  $2,000  worth  of  bullion." 

In  his  report  to  Captain  F.  Engle,  Dr.  John  Evans,1  geologist  of  the  Chiriqui 
Commission,  states  that  on  the  tributaries  of  the  Cricamola  river  several  panfuls 
of  earth  were  washed  by  one  of  his  men,  and  in  every  instance  gold  was  found. 
The  aggregate  value  of  the  gold  in  three  panfuls  was  about  one  dollar,  which  is 
considered  a  large  yield.  Cricamola  is  a  stream  that  flows  from  the  Valle  Miranda 
northward  into  the  Chiriqui  lagoon.  In  other  localities,  Dr.  Evans  found  ores 
of  iron,  copper  and  platinum.  Judging  from  the  geology  of  the  country  and  the 
discoveries  previously  made,  he  believed  it  to  be  rich  in  minerals. 

M.  A.  L.  Pinart 2  believes  the  Guaymis  who  inhabit  Valle  Miranda  to  be 
descendants  of  the  Indians  that  constructed  the  ancient  cemeteries  (huacals) 
found  everywhere  over  Chiriqui,  Veragua,  Azuero  and  Cocle.  They  have  a 

1  New  York  Herald,  Dec.  8,  1860. 

2  Bull.  Soc.  de  geog.  7°  ser.,  VI,  433,  Paris,  1885. 


192  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

tradition  that  before  the  arrival  of  the  Spaniards  and  even  for  a  certain  period 
after  that  event,  they  worked  in  metal  —  gold,  copper  and  their  alloys.  The 
Guaymis  of  Valle  Miranda  still  possess  a  number  of  ornaments  in  these  alloys, 
which  they  claim  to  have  inherited  from  their  ancestors  —  ornaments  that  differ  in 
no  respect  from  those  found  in  the  huacals  of  Chiriqui.  Pinart  also  believes  that 
the  Guaymis  still  bury  their  dead  in  these  ancient  huacals.  Gabb  observed 
similar  gold  ornaments  in  the  possession  of  a  Tiribi  chief  and  one  of  his  principal 
warriors,  but  was  not  able  to  ascertain  whether  these  highly  prized  images  had 
been  taken  from  the  ancient  graves  or  handed  down  as  heirlooms  (see  p.  16). 

Interest  in  the  ancient  burying-grounds  of  Chiriqui  may  be  said  to  date  from 
1858,  when  rich  discoveries  of  gold  were  made  at  Bugavita.  While  wandering 
through  the  forests  in  the  vicinity  of  his  cabin,  a  native  of  Bugavita,  in  the  district 
of  Boqueron,  encountered  a  tree  that  had  been  uprooted  by  a  recent  tempest, 
revealing  a  small  earthen  vessel.  "  Upon  examination  this  proved  to  contain, 
wrapped  in  a  swathing  of  half-decayed  cloth,  divers  images  of  curious  and  fantastic 
shape,  and  of  so  yellow  and  shining  a  metal  that  he  at  once  suspected  them  to 
be  of  gold."  1  Authors  differ  as  to  the  details  of  the  discovery.  Dr.  Otis  says  it 
occurred  in  June  and  that  in  less  than  a  fortnight  over  a  thousand  people  were 
at  work,  having  dug  up  225  pounds  weight  of  images,  most  of  which  proved  to 
be  of  the  finest  gold.  According  to  the  report  of  Dr.  J.  King  Merritt,2  who  was 
director  of  a  gold  mine  in  Veragua,  it  was  in  the  autumn  of  1858,  while  gathering 
their  crop  of  corn,  that  two  Spanish  Creole  farmers,  Ignacio  Guerra  and  Victorio 
Pitti,  "  accidentally  discovered  a  golden  image,  which  had  been  exposed  by  the 
uprooting  of  a  plant.  They  cautiously  and  secretly  made  farther  search  by  sink- 
ing a  pit  at  this  point,  and  were  successful  in  obtaining  more.  With  this  en- 
couragement they  determined  to  explore  the  Huacal,  the  existence  of  which  had 
been  well  known  for  years.  They  proceeded  in  this  work,  not  continuously,  but 
as  circumstances  would  permit,  until  the  first  of  May,  1859,  when  their  concealed 
operations  became  known  to  the  inhabitants  of  the  vicinity.  The  consequence 
was  that  by  the  middle  of  May  more  than  a  thousand  persons  were  engaged  in 
ransacking  the  graves  of  this  Huacal."  This  cemetery  covered  an  area  of  only 
twelve  acres.  According  to  Thomas  Francis  Meagher,  the  discoverer  of  the  golden 
relics  was  Don  Roberto  Soes.3  It  is  estimated  by  Dr.  Merritt  that  the  metallic 
value  of  the  images  found  at  Bugavita  alone  amounted  to  $50,000.  C.  W.  Liiders  4 
estimated  their  value  at  nearly  a  million  dollars.  The  largest  gold  figurine  of 
a  high  degree  of  purity  found  here  is  said  to  have  weighed  between  eleven  and 
twelve  ounces.  Much  of  the  pottery  illustrated  in  this  work  came  from  Bugavita. 

The  major  part  of  these  gold  images  from  Bugavita  is  said  to  have  been  melted 
at  Panama  for  their  bullion  value.  Of  those  that  were  brought  to  the  United 
States  only  a  few  found  their  way  into  museums ;  the  plaque  and  the  vampire 

'  F.  M.  Otis,  M.  D.,  in  Harper's  weekly,  Aug.  6th,  1859. 

2  Report  on  the  huacals,   or  ancient  graveyards  of  Chiriqui.     Publ.  by  Amer.  ethnol.  soc. 
previous  to  vol.  I  of  its  Bulletins. 

3  The  new  route  through  Chiriqui.     Harper's  mag.,  XXII,  198,  1861. 

4  Jahrbuch  der  Hamburgischen  wiss.  Anstalten,  VI,  22,  1888. 


METAL.  193 

(see  fig.  352)  at  the  Lenox  Library,  New  York,  probably  being  two  of  the  rare 
and  fortunate  exceptions.  What  became  of  the  gold  ornaments  to  the  value  of 
$70,000,  exhibited  at  a  meeting  of  the  American  Ethnological  Society,  is  not  known.1 
The  part  that  was  sent  to  London  has  not  been  traced.  Much  of  it  presumably  was 
consigned  to  the  melting  pot.  A  few  specimens  are  preserved  in  the  Hamburg 
Museum.  It  is  highly  probable  that  some  of  the  pieces  in  the  Yale  collection 
and  in  that  of  Mr.  George  G.  Heye  formed  a  part  of  the  Bugavita  treasure.  This 
is  also  true  of  the  nine  specimens  exhibited  by  Mr.  Alfred  B.  Taylor,  at  a  meeting 
of  the  Numismatic  and  Antiquarian  Society  of  Philadelphia,  October  5th,  1865,  but 
their  present  whereabouts  is  unknown.  Chiriquian  gold  ornaments  are  rare  in 
European  museums  with  the  possible  exception  of  that  at  Madrid,  which  I  have 
not  yet  seen. 

Although  the  discoveries  of  1858-59  attracted  the  attention  of  the  world  to  the 
archeological  possibilities  of  Chiriqui,  it  does  not  follow  that  the  presence  of  gold 
ornaments  in  Chiriquian  graves  had  been  entirely  unknown  prior  to  that  time.  Squier, 
the  well-known  archeologist,  is  authority  for  the  statement  that  "  large  quantities 
have  been  taken  from  time  to  time  for  many  years  past ;  and  I  was  informed  by  the 
late  Governor  of  the  Bank  of  England,  that  several  thousand  pounds  worth  were 
annually  remitted  from  the  Isthmus  as  bullion,  to  that  establishment."  It  is  to  be 
deplored  that  some  of  these  ornaments  did  not  go  to  the  British  Museum  instead, 
where  the  collection  of  isthmian  gold  figurines  is  still  quite  small ;  under  the  wise 
management  of  Mr.  C.  H.  Read  however  it  is  being  increased  as  opportunity 
offers.  In  1907  Mr.  Read  purchased  a  splendid  specimen,  the  metal  value  of 
which  is  £25.  It  consists  of  a  group  of  eight  figurines  set  in  a  rectangular  panel, 
the  dimensions  of  the  panel  being  9.5  by  6  centimeters.  The  motive  and  workman- 
ship are  similar  to  those  of  the  much  smaller  piece  reproduced  in  Plate  XLIX  (fig.  a). 

In  a  given  huacal  the  number  of  graves  containing  gold  is  small  in  comparison 
with  the  total  number.  Some  of  the  more  elaborately  constructed  graves  are  said 
to  contain  nothing  at  all.  Those  in  which  metal  objects  are  found  are  usually 
rich  in  pottery  and  stone  implements.  Dr.  Merritt  describes  two  kinds  of  graves 
found  at  Bugavita,  the  oval  and  the  quadrangular  (see  pp.  9  and  10).  The  oval 
grave-pits  were  lined  with  rounded  river  stone.  This  type  occurred  principally 
in  the  northern  and  western  sections  of  the  burial-ground  ;  "  and  as  a  general 
rule  yielded  the  most  figures  of  gold  and  the  finest  specimens  of  pottery."  It  is 
said  that  some  of  the  gold  figures  were  located  in  the  crevices  of  the  wall,  "  but 
in  no  instance  in  earthen  jars  associated  with  them."  The  latter  statement  con- 
flicts with  that  of  Dr.  Otis,  previously  cited. 

There  were  two  distinct  types  of  the  quadrangular  grave.  The  lining  of  one 
kind  was  of  rounded  river  stone  resembling  in  this  respect  the  oval  graves.  They 
were  also  in  juxtaposition  to  the  latter  and  like  them  in  yielding  more  gold  images 
and  finer  pottery  than  the  second  type  of  quadrangular  grave.  This  variety, 
"  although  poor  in  relics,  was  more  artistically  and  carefully  constructed,  and  in 
a  better  state  of  preservation."  The  walls  of  the  vault  were  lined  with  flat  stones 
set  upright.  The  cover  of  the  vault  was  also  composed  of  flat  stones  carefully  fitted. 

1  Hist,  mag.,  IX,  158,  1865. 

MEMOIRS  CONN.  ACAD.,  Vol.  III.  25 


194 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Pinart's  description  of  the  graves  and  the  disposition  of  the  gold  objects  differs 
somewhat  from  the  foregoing  (see  p.  12).  He  speaks  of  certain  graves  with  walls 
made  of  flat  slabs  set  upright ;  and  the  cover,  a  great  stone  slab.  In  these  the 
pottery  and  stone  objects  were  found  toward  the  center,  while  the  human  bones 
were  placed  without  apparent  order  along  the  walls,  the  gold,  if  there  was  any, 
always  being  with  the  bones.  The  other  type  mentioned  by  Pinart  consisted  of 
a  more  rudely  constructed  vault,  into  the  walls  of  which  were  built  recesses  or 
niches,  each  one  lined  with  and  covered  by  flat  slabs  of  stone.  Here  the  pottery 
and  stone  objects  were  placed  in  the  vault,  and  the  gold  in  the  niches. 

The  gold  images  of  Chiriqui  are  a  source  of  wonder  and  admiration  to  every 
beholder.  A  careful  study  of  them  serves  to  throw  new  light  on  the  mythology 
and  artistic  skill  of  the  ancient  race,  without  lessening  appreciably  the  mystery 
that  envelopes  the  methods  they  employed  in  order  to  arrive  at  such  splendid 
results.  For  the  most  part,  they  seem  to  have  used  alloys  of  gold  with  copper, 
ranging  practically  from  pure  gold  on  the  one  hand  to  pure  copper  on  the  other. 
A  small  percentage  of  silver  is  present  in  some  specimens,  one  being  the  large 
figure  of  a  parrot  illustrated  in  figure  353.  Dr.  C.  H.  Mathewson  of  the  Hammond 
Metallurgical  Laboratory  at  Yale  analyzed  two  of  the  specimens  illustrated  in  this 
work  (see  PI.  XLIX,  fig.  g  and  text-fig.  370)  and  found  them  to  be  nearly  pure 
gold,  the  only  alloy  being  copper.  The  alloys  often  appear  to  be  natural.  In 
some  cases,  very  effective  figurines  were  produced  by  only  slight  alterations  in 
the  shape  of  nuggets  or  masses  of  the  native  metal  (see  figs.  363  and  364).  A 
great  majority  of  the  pieces  however  were  cast,  either  wholly  or  in  part.  Some 
are  constructed  from  a  number  of  separate  castings  which  were  afterwards  welded 
together.  Others  are  cast  as  a  unit,  certain  parts  of  which  —  as  tail,  wings  or 
feet  —  being  altered  later  by  hammering.  This  class  includes  perhaps  the  largest 
number  of  specimens.  The  accessible  surfaces,  especially  those  on  the  half  intended 
to*  be  seen,  are  carefully  burnished.  On  the  opposite  half  however  hammer  marks 
are  often  distinctly  visible.  The  subspherical  pestle  illustrated  in  figure  33  could 
have  been  used  both  as  hammer  and  burnisher.  Its  surfaces  are  streaked  with 
gold  that  in  places  is  driven  into  the  grain  of  the  rock. 

The  gold  seems  to  be  concentrated  on  the  surfaces,  forming  a  layer  of  brighter 
yellow  than  the  interior.  This  is  true  even  where  there  is  but  little  alloy. 
Sometimes  this  outer  coating  is  but  little  more  than  a  superficial  bloom.  When 
susceptible  of  measurement,  it  is  found  to  be  thicker  in  some  places  than  in 
others.  A  possible  explanation  of  this  rich  coating  may  be  found  in  a  state- 
ment by  Acosta  to  the  effect  that  the  Indians  of  Santa  Marta,  on  the  north  coast 
of  Colombia,  "  had  much  gold  and  copper,  also  gilt  copper  —  and  the  copper 
was  gilt  by  the  use  of  the  juice  of  a  plant  rubbed  over  it,  then  put  into  the  fire, 
when  it  took  the  gold  color."  Oviedo,  "  surveyor  of  the  melting  shops  of  King 
Ferdinand"  and  Charles  V,  was  the  first  to  mention  this  process,  Eden's  trans- 
lation l  of  his  words  being  as  follows  : 

"  And  forasmuche  as  I  haue  spoken  of  golde,  I  haue  thought  good  to  declare 
sumewhat  howe  the  Indians  can  very  excellently  gylte  suche  vesselles  of  copper  and 

1  The  first  three  English  books  on  America ;  from  the  Latin  of  Peter  Martyr  of  Anghiera ; 
ed.  by  Edward  Arber,  213,  Birmingham,  1885. 


METAL.  195 

base  gold  as  they  make.  For  they  can  gyue  them  so  fayre  and  floryshynge  a 
coloure,  that  all  the  masse  whiche  they  gylte,  appearethe  as  though  it  were  golde 
of  .xxii.  caractes  and  better.  This  colour  they  gyue  with  a  certeyne  herbe  as 
thoughe  it  were  wrought  by  the  arte  of  any  goldesmyth  of  Spayne  or  Italic,  and 
wold  of  them  be  esteemed  as  a  thynge  of  greate  ryches,  and  a  secreate  maner 
of  gyldynge."  As  far  as  the  laws  of  metallurgy  are  concerned,  this  statement 
can  be  considered  worthy  of  entire  credence. 

Another  possible  method  of  producing  similar  results  would  be  to  coat  the  wax 
or  resin  model  with  gold  before  it  was  encased  in  the  mold.  In  melting  the 
model,  the  gold  would  adhere  as  a  shell  to  the  interior  of  the  mold,  which  could 
then  be  filled  with  alloy.  On  removing  the  mold  and  burnishing  the  surface, 
the  process  would  be  complete.  This  is  the  suggestion  of  Dr.  George  F.  Kunz. 

There  are  several  specimens  in  the  Yale  Collection  (see  fig.  342)  with  a  foundation 
of  metal  apparently  devoid  of  gold,  over  which  is  laid  sheet  gold,  giving  the 
exact  appearance  of  being  plated.  As  the  base  metal  underneath  decays,  the  gold 
comes  off  in  scales. 

The  precise  nature  of  the  molds  employed  in  casting  is  still  a  mystery,  no 
specimens  or  even  fragments  of  them  having  been  preserved.  Sand  or  clay  might 
have  been  used.  Modern  goldsmiths  make  use  of  cuttlefish  bone  in  casting  small 
objects  not  more  than  five  by  ten  centimeters  in  dimensions.  It  requires  two 
for  the  halves  of  the  mold,  and  they  give  a  comparatively  smooth  surface  to 
the  casting.  The  cuttlefish  is  said  to  be  found  in  Chiriquian  waters.  The  sand 
box  either  undivided  or  in  halves  might  have  been  in  use.  The  character  of 
some  unburnished  surfaces  suggests  sand  casting.  One  fine  large  figure  of 
the  alligator-god  (see  PI.  XLVIII,  fig.  g)  seems  to  have  been  cast  as  one  piece 
in  a  sand  box  of  two  halves,  because  of  the  impression  left  by  a  short  rod 
inserted  in  order  to  produce  the  opening  in  the  ring  at  the  back.  The  same 
results  could  not  have  been  secured  by  an 
undivided  mold.  In  order  to  save  metal  and 
reduce  the  weight  of  the  figurines,  the  latter 
were  cast  hollow,  the  figure  being  open  for 
all  or  part  of  its  length  either  on  the  dorsal 
or  ventral  aspect,  but  always  on  the  one  not 
intended  to  be  seen.  The  frequent  crystalliza- 
tion of  the  gold  on  the  hollow  surfaces,  and 
other  superficial  characters  indicate  that  resin 
or  a  similar  substance  must  have  been  em- 

„!„    ,-j  en-  -MT        •»»•  /-•      v    -,i         Fig.  323- — Figure  of   a  frog   carved    in   resin; 

ployed    as    a    filling.      Mr.    Minor    C.   Keith        efro^  3DivalaB    Lamson  coKflcction.    .A 
possesses    an    interesting    figurine    from    Rio 

General,  near  Terraba,  Costa  Rica,  in  the  hollow  head  of  which  the  resin  plug 
is  still  retained  (see  fig.  375). 

The  Lamson  collection  includes  a  frog  carved  out  of  resin,  which  is  mentioned 
here  because  of  its  probable  bearing  on  the  art  of  casting  in  metal  (fig.  323). 
The  ring  on  the  throat  for  suspension  is  partially  broken  away ;  the  feet,  which 
were  presumably  flattened,  are  lacking.  We  evidently  have  to  do  here  with  the 
metallic  type  of  frog.  The  resin  where  freshly  broken  is  of  a  rich  reddish 


196 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


color  and  the  piece  is  perfectly  translucent,  even  in  its  thickest  parts,  resembling 
in  this  respect  the  familiar  commercial  rosin,  only  of  a  finer  quality  and  different 
smell  when  burning.  The  image  came  from  Divala. 

Sir  Walter  Raleigh l  gives  an  interesting  account  of  primitive  metallurgy  as  prac- 
tised by  the  Indians  of  Guiana  in  1595 :  "  I  after  asked  the  maner  how  the  Epuremei 
wrought  those  plates  of  golde,  and  howe  they  could  melt  it  out  of  the  stone  ; 
hee  tolde  mee  that  the  most  of  the  golde  which  they  made  in  plates  and  images, 
was  not  severed  from  the  stone,  but  that  on  the  lake  of  Manoa,  and  in  a  multi- 
tude of  other  rivers  they  gathered  it  in  graines  of  perfect  gold  and  in  peeces  as 


Fig.  324. — Illustration  showing  primitive  process  of  casting  gold  images.     (After  de  Bry.) 

bigge  as  small  stones,  and  that  they  put  it  to  a  part  of  copper  otherwise  they 
could  not  worke  it,  and  that  they  used  a  great  earthern  pot  with  holes  round 
about  it,  and  when  they  had  mingled  the  gold  and  copper  together,  they  fastened 
canes  to  the  holes,  and  so  with  the  breath  of  men  they  increased  the  fire  till  the 
metall  ran,  &  then  they  cast  it  into  moulds  of  stone  and  clay,  and  so  make 
those  plates  and  images." 

De  Bry's  illustration  showing  how  the  natives  of  Guiana  cast  their  gold  images 
is  reproduced  in  figure  324.     Judging   from    the    text   accompanying  his   figure, 

1  Richard  Hakluyt.     The   principal  navigations,   voyages,   traffiques  &  discoveries  of  the 
English  nation,  etc.     Reprint  of  2d  ed.,  X,  414,  415,  1904. 


METAL.  197 

the  latter  may  have  been  inspired  by  the  above  narrative  of  one  of  Raleigh's  men. 
The  dates  of  these  two  accounts  would  not  necessarily  conflict  with  such  a  view. 
De  Bry's  text  is  as  follows  : 

"  Incolse  regni  Guiana  statuas  &  imagines  suas,  plerumque  ex  paruis  auri  granulis 
fundunt,  quze  in  quodam  lacu,  non  piocul  a  regia  ciuitate  Manoa,  &  in  aliis 
fluminibus,  quas  sese  in  lacum  istum  exonerant,  colligunt.  Ad  grana  ista  aurea 
paululum  seris  assumunt,  ut  auru  tractari  facilius  possit,  &  postea  vasi  alicui  fictili 
includunt,  quod  multa  habet  foramina,  ad  quae  fistulae  quaeda  siue  calami  aptantur, 
ita  ut  in  typos  promineant,  qui  ad  ignem  sub  vase  isto  in  hunc  usum  collocati 
sunt,  ut  aurum  habitu  oris  liquefactum  &  ex  vase  fictili  promanans  excipiant."  l 

The  fact  that  an  alloy  of  gold  and  copper  fuses  at  a  lower  temperature  than 
either  metal  alone  accounts  in  part  at  least  for  the  prevalent  use  of  the  alloy 
among  the  natives  of  America.  That  they  were  able  however  to  cast  pure  copper 
and  probably  copper  alloyed  with  tin,  which  has  a  higher  melting  point  than  gold, 
is  attested  by  the  existence  of  figurines  of  that  metal. 

In  describing  and  illustrating  gold  ornaments,  great  caution  has  been  exercised 
in  eliminating  all  pieces,  the  authenticity  of  which  could  be  questioned.  In  the 
early  days,  collectors  often  had  difficulty  in  disposing  of  originals  at  little  if  any 
more  than  their  bullion  value.  Now  that  the  demand  is  great  and  the  supply 
small,  they  often  command  two  and  three  times  the  gold  value.  Nearly  all  the 


Fig.  325. — Needle  of  nearly  pure  copper.     V1 

specimens  here  figured  were  collected  thirty  to  forty  years  ago,  which  fact  of 
itself  creates  a  strong  presumption  in  favor  of  their  being  genuine.  In  case  of 
more  recent  acquisitions,  reliance  is  placed  largely  on  a  thorough  comparison 
with  pieces  that  are  undoubtedly  authentic.  I  have  spent  months  in  searching 
for  criteria,  by  means  of  which  even  the  most  skilful  frauds  might  be  detected, 
but  am  not  yet  prepared  to  announce  complete  success. 

The  number  of  metal  objects  in  which  gold  plays  no  part  is  relatively  small. 
These  are  presumably  either  nearly  pure  copper  or  bronze.  Among  them  may 
be  mentioned  a  needle  (fig.  325),  the  eye  of  which  is  produced  by  slitting  one 
end,  spreading  the  halves  apart  and  then  bringing  their  tips  together.  The 
needle  is  perfectly  round  and  of  uniform  diameter  except  in  the  region  of  the 
tapering  point. 

Toilet  articles  are  represented  by  bronze  or  copper  tweezers,  evidently  intended 
for  plucking  out  hair  or  beard.  Similar  ones  have  been  found  in  Peru.  Squier 
speaks  of  finding  a  pair  of  bronze  tweezers  suspended  by  a  thread  around  the 
neck  of  a  mummified  fisherman  from  a  tomb  at  Pachacamac.  The  specimen 
reproduced  in  figure  326  is  perforated  for  suspension.  One  of  the  arms  is  broken 
off.  The  type  is  more  refined  than  that  figured  by  Squier. 

1  J.  T.  and  J.  I.  de  Bry.  Collectiones  peregrinationum  in  Indiam  orientalem  et  Indiam 
occidentalem,  part  VIII,  pi.  XVII,  Francofurti  ad  Moenum,  1599. 


198 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


The  ancient  Chiriquians  were  very  fond  of  rattles.  It  is  not  surprising  that 
some  of  these  should  have  taken  the  form  of  the  common  sleigh-bell  of  the  north. 
The  simplest  form  consists  of  a  hollow  globular  body  slit  underneath  and  provided 
with  a  loop  at  the  top  and  a  relatively  large  metal  pellet  within.  It  seems  to  be 
genetically  related  to  the  bell-shaped  projecting  eyes  of  the  frog  (see  PI.  XLVIII, 
fig.  i,  and  text-fig.  347).  These  bells  are  made  of  copper  washed  with  gold,  also 
of  practically  pure  gold.  A  tiny  example  in  copper1  is  given  in  figure  327.  This 


Fig.  326. 


Fig.  327. 


Fig.  328. 


Fig.  326. — Copper  tweezers  perforated  for  suspension.     V1 

Fig.  327. — Small  copper  bell  fashioned  like  the  modern  sleigh-bell.     '(> 

Fig.  328. — Base  metal  bell  representing  the  human  head.      Lamson  collection.     '/» 

simple  type  may  be  varied  so  as  to  represent  the  human  head,  as  shown  in 
figure  328,  a  specimen  belonging  to  Dr.  Wm.  J.  Lamson  of  Summit,  N.  J.  The 
relatively  large  pellet  inside  resembles  a  dropping  of  copper.  The  prominent  ears 
are  represented  by  coils  of  wire.  A  similar  (bronze)  bell  from  the  Stearns  collection 
was  figured  by  Holmes.  In  both  cases  the  human  features  are  inverted  when 
the  bell  is  suspended  from  its  loop.  The  jaguar's  head  is  also  employed  as  a  bell, 

one  of  this  kind  from  Rio  General,   Costa  Rica,  having 
recently  been  obtained  by  Mr.  Minor  C.  Keith. 

The  most  remarkable  of  the  base  metal  figurines  be- 
longs to  Dr.  Lamson  and  is  reproduced  in  figure  329.  It 
represents  a  frog  and  is  fashioned  with  much  skill,  the 
whole  being  cast.  The  exaggerated  flattening  of  the  hind- 
feet  is  due  in  part  to  hammering  and  is  almost  constant 
among  the  metal  figurines  of  the  frog.  Its  significance 
will  be  noted  later.  The  forefeet  are  plain  rings  for 
suspension.  The  ancient  Chiriquians  were  not  always 
satisfied  with  the  realistic  representation  of  the  animal 
form  as  a  complete  and  single  zoomorphic  unit.  They 
sometimes  combined  parts  of  distinctly  different  animals 
into  one.  More  often  they  would  ornament  an  otherwise 
complete  animal  figure  with  motives  derived  from  a  wholly 
different  kind  of  animal  or  from  parts  thereof.  Such  is 

the    case    here,    where   the  frog's   head  is   decorated   with    two   conventionalized 

alligator  heads,  each  recognized  by  an  eye,  upper  jaw  with  recurved  snout  and 

lower  jaw,  the  latter  in  each  case  being  curved  downward  and  backward  to  fuse 

1  Dr.  Mathewson  finds  that  this  specimen  contains  20  per  cent  gold  and  a  trace  of  silver. 


Fig.  329. — Base  metal  casting 
representing  a  frog,  the  head 
of  which  is  adorned  with  two 
conventionalized  alligator 
heads.  Lamson  collection.  'A 


METAL. 


199 


with  the  nose  of  the  frog,  on  each  side  of  the  median  line.  The  thinness  of  the  cast- 
ing and  the  delicacy  of  form  and  finish  lead  one  to  conclude  that  base  alloys  were 
highly  prized  by  the  ancient  Chiriquians ;  this  belief  is  strengthened  by  the  fact 
that  objects  of  this  class  average  quite  as  small  as  those  of 
gold,  every  part  suggesting  economy  in  the  use  of  the  alloy. 
The  use  of  the  conventionalized  alligator  or  alligator 
head  as  a  decorative  and  perhaps  symbolic  motive  on 
metal  figurines  does  not  seem  to  have  been  detected  by 
previous  writers.  Bollaert,1  for  example,  reproduces  a  gold 
figurine  (see  fig.  365)  that  has  a  human  body  and  an 
alligator  head.  He  not  only  did  not  recognize  the  head 
as  being  that  of  an  alligator,  but  also  did  not  see  the 
three  additional  diagrammatic  alligator  heads  and  bodies 
that  are  woven  into  the  setting  of  the  central  figure.  A  sub- 
sequent writer  copied  this  illustration,  calling  it  simply  a 
"  grotesque  human  figure  in  gold,  from  Bollaert."  He  also 
reproduced  two  other  specimens 2  in  which  the  alligator- 
head  motive  is  used,  but  apparently  did  not  recognize 
it.  In  one  instance  (fig.  330)  this  motive  is  attached  to  the  knees  of  a  "  quad- 
ruped with  grotesque  face ; "  and  in  the  other  (fig.  331),  it  is  repeated  on  each 
side  of  the  head  of  what  Holmes  thinks  may  be  a  crayfish  "  with  complicated  yet 


33°- — Figurine  in  base 
metal,  to  each  knee  of  which 
is  attached  a  conventionalized 
alligator  head.  (AfterHoImes.) 


O; 


Fig.  331. — Animal  figure  in  base  metal  plated  with  gold,  from  the  mouth  of  which 
project  two  conventionalized  alligators.     (After  Holmes.) 

graceful  antenna-like  appendages,  made  of  wire  neatly  coiled  and  welded  together 
by  pressure  or  hammering.''     Liiders  differs  from  Holmes  as  to  the  meaning  of 

1  William  Bollaert.     Antiquarian,  ethnol.  and  other  researches  in  New  Granada,  32,  fig.  3, 1860. 

2  Ancient   art   of  the   province    of  Chiriqui,    Sixth   ami.    rept.   Bur.  ethnol.,  figs.  35,  40, 
1884-'85. 


200 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


this  figurine,  insisting  that  it  is  not  a  crayfish  but  a  cuttlefish  (Tinten-fiscli).  I  differ 
from  both  these  writers  and  believe  it  to  be  a  composite  figure,  with  alligator 
head  and  body  and  bird  wings  and  tail.  Two  pairs  of  the  "antenna"  coils  re- 
present the  curling  ends  of  alligator  jaws,  between  which  the  teeth  are  plainly 
visible,  the  lower  as  well  as  the  upper  jaw  being  coiled  on  itself.  These  are  alli- 
gator-head motives  very  much  conventionalized.  Each  is  attached  to  what  Holmes 
calls  an  antenna,  which  in  fact  is  a  conventionalized  alligator  body  projecting 
from  the  mouth  of  the  figurine.  The  avian  characters  are  perfectly  distinct.  The 
alligator  is  recognizable  in  the  longitudinal  raised  lines  and  nodes  on  the  back, 
the  projecting  eyes  and  sudden  rise  of  the  naso-frontal  region,  the  curve  of  the 
back,  and  long  muzzle  surmounted  by  a  suspension  ring  that  takes  the  place  of  the 
recurved  snout  (see  profile).  Had  it  not  been  thought  necessary  to  emphasize  the 
latter  feature,  this  ring  would  have  been  placed  ventrally,  where,  if  intended  only 

as  a  means  for  suspension,  it  rightfully  belongs. 
Subsequent  illustrations  will  bear  me  out  in  these 
conclusions.  Figures  with  mixed  attributes  were 
the  favorites,  whether  intended  for  ornamental  or 
ceremonial  purposes. 

A  gold  figurine  in  the  Metropolitan  Museum 
(fig.  332)  belongs  to  the  same  class.  The  figure 
as  a  whole,  like  the  preceding,  is  a  conventional- 
ized alligator.  The  tail  however  is  forked,  and  in 
place  of  wings  there  are  four  legs,  each  terminating 
in  a  conventionalized  alligator  head  instead  of  a  foot. 
From  the  mouth  protrude  two  alligators,  their  dorsal 
spines  resembling  bird  beaks.  The  heads  of  these 
two  alligators  are  highly  characteristic,  except  that 
the  teeth  are  represented  by  pellets.  The  two  bodies 
resemble  the  Mexican  feather-snake,  as  illustrated  in 
the  ancient  codices.  The  prominence  in  the  region 
of  the  eye  is  very  marked  in  all  six  of  these  con- 
ventionalized heads.  Both  of  these  figurines  should  be  compared  with  three 
specimens  from  the  valley  of  Rio  General,  Costa  Rica,  two  of  which  form  part 
of  a  collection  (gift  of  Frau  Dr.  Mertens)  recently  acquired  by  the  Royal  Ethno- 
graphical Museum  of  Berlin.1  The  larger  one  resembles  figure  331,  except  that 
the  hindlegs  of  the  alligator  are  retained,  the  wings  replacing  the  forelegs  only. 
The  other  is  comparable  to  figure  332,  but  no  conventionalized  alligators  protrude 
from  the  mouth ;  and  the  two  forks  of  the  tail  are  differentiated  into  alligators, 
which,  like  the  back  of  the  parent  figure,  are  ornamented  with  spines  and  scales. 
The  most  perfect  link  in  this  chain  of  alligator  forms  is  a  specimen  (also  from 
Rio  General)  in  the  Keith  collection  —  a  realistic  alligator  with  two  conventionalized 
alligators  protruding  from  the  mouth  and  two  other  similar  ones  taking  the  place 
of  the  tail.  The  parent  figure  and  the  four  attached  to  it  are  all  decorated  with 


Fig.  332. — Gold  figurine  ornamented 
with  alligator  motives.  Metropolitan 
Museum,  New  York.  '/' 


1  E.  Seler.     Zeitschr.  f.  Ethnol.,  XLI,  Taf.  VI  (bottom  row  at  the  center),  1909. 


METAL. 


201 


raised  spine-  and  scale-motives.  The  piece  in  the  Metropolitan  Museum  is  classed 
as  one  of  fourteen  Mexican  antiquities,  the  gift  in  1896  of  Mr.  Audinet  Gibert.  If 
found  in  Mexico  it  was  evidently  an  importation  from  the  south,  since  it  fits  so 


Fig-  333-     Fig.  334-       Fig.  335. 


Fig.  336. 


Fig.  337- 


Fig.  333  — Bead  evidently  made  from  a  gold  nugget.     '/' 

Fig.  334. —  Gold  bead.      '/' 

Fig.  335. — Cylindrical  bead  made  of  sheet  gold.     '/' 

Fig.  336—338. — Cylindrical  gold  beads.     '/' 


Fig.  338- 


Fig.  339- 


perfectly  into   the  series  from  Chiriqui  and  the  adjoining  district  in   Costa  Rica, 
and  belongs  to  the  Central  American  type  of  goldsmith's  art. 

In  the  Yale  collections  there  are  a  number  of  gold  beads  of  various  shapes  and 
sizes  (figs.  333-338).  Some  of  them  are  evidently  cast ;  others  are  irregular  in 
shape,  and  seem  to  have  been  made  of  gold  nuggets.  One 
bead  is  made  of  sheet  gold  rolled  into  the  form  of  a  cylinder. 
Three  cylindrical  beads  are  reproduced,  on  which  the  enlarge- 
ments at  the  ends  seem  to  be  a  part  of  the  casting  rather 
than  fillets  applied  subsequently. 

A  small  gold  object  (fig.  339)  in  the  possession  of  Mr. 
George  G.  Heye  was  apparently  intended  to  be  worn  as  a 
labret  or  perhaps  earring,  and  hence  belongs  in  the  general 
class  of  articles  of  personal  adornment.  There  is  a  similar 
but  larger  specimen  in  the  British  Museum,  which  has,  in 
place  of  the  four  horizontal  slits,  four  rows  of  horizontally 
arranged  triangular  perforations.  Most  of  the  gold  objects 
described  here  however  are  evidently  for  ceremonial  purposes 
as  well  as  for  adornment.  A  much  more  elaborate  example 
than  either  of  the  foregoing  was  reproduced  by  Herr  Liiders 
as  part  of  the  celebrated  Bugavita  treasure. 

The  gold  bell  illustrated  in  figure  340  is  one  of  the  gems 
of  the  Yale  collection.  It  is  surmounted  by  an  animal  form. 
The  upper  story,  which  is  shaped  like  a  church  bell,  is  or- 
namented at  the  top  and  bottom  by  raised  horizontal  bands. 
Between  these  are  groups  of  bands  forming  x-shaped  figures. 
These  features  in  relief  appear  to  have  been  cast  with  the 


Fig.  340. 


surmounted  by  an  ani- 
mal form;  the  pellet  in- 
side is  a  nugget  of  gold. 


Fig.  339. — Goldornament, 
to  be  worn  as  a  labret 
or  earring.  Heye  col- 

body  of  the  bell,   the  lower  half  of  which  is  hemispherical     Fi  lectio0nL.Fine  old  bell 
and  slit  vertically.     The  pellet  inside  is  a  gold  nugget.    The 
entire  piece  is  of  fine  gold. 

Among  the  rare  animal  forms  represented  in  gold  may  be 
mentioned  the  fish  and  the  crayfish.     Examples  of  these  were 

illustrated  in  an   article  by  F.  M.  Otis  in  Harper's  Weekly.     I  have  been   unable 
to  trace  the  originals ;   but  have  found  in  the  Metropolitan  Museum,  New  York, 
a  fish  (fig.  341)  similar  in  type  to  the  ones  figured  by  Otis.     According  to   the 
MEMOIRS  CONN.  ACAD.,  Vol.  III.  26 


202 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Museum  records  it  came  from  a  Chiriquian  tomb,  having  been  collected  in  1859 
by  Mr.  D.  M.  Corwing,  while  on  a  trip  to  Panama.  It  was  afterwards  given  to  the 
Museum  by  Mr.  Meredith  Howland. 

Representations  of  Cervidae  are  also  rare.     A  specimen  belonging  to  the  Heye 
collection  is  shown  in  figure  342.     The  neck  and  body  are  hollow,  the  latter  being 


Fig.  341.— Gold  figurine  of  a  fish.     Metropolitan  Museum, 
New  York.     '/« 


Fig.  342. — Figurine  of  a  deer,  in  base  metal 
plated  with  low-grade  gold.  Heyc  col- 
lection. '/' 


Fig-  343- 


open  ventrally.  It  is  of  base  metal  coated  with  a  thin  layer  of  low-grade  gold, 
which  has  disappeared  from  parts  of  the  legs  on  account  of  the  disintegration  of 
the  baser  foundation.  The  only  gold  figurine  of  the  armadillo  that  I  have  seen 
is  the  small  one  also  belonging  to  Mr.  Heye  (fig.  343). 

The  frog  was  a  favorite  with  both 
potter  and  goldsmith  of  ancient  Chiriqui. 
Those  fashioned  out  of  metal  were  almost 
universally  identical  in  type,  especially  in 
regard  to  the  flattening  of  the  hindfeet, 
as  seen  in  figure  344.  The  suggestion 
may  have  come  originally  from  the  web- 
foot  of  the  frog,  but  other  reasons  must 
be  sought  to  explain  why  it  should  be 
characteristic  of  the  metal  frog  only. 
Gold  is  precious  and  of  an  attractive 
color.  The  attractiveness  and  apparent 
size  of  the  figure  can  be  almost  doubled 
by  the  flattening  of  the  hindfeet.  As 
there  are  always  rings  for  suspension, 
usually  in  the  forefeet  or  between  them, 
these  objects  were  evidently  worn  as 
charms  or  ornaments.  The  flattening  of 
the  hindfeet  would  help  to  steady  the 
figurine  and  keep  it  from  rolling  as  the 
wearer  moved.  The  clay  frogs,  on  the 
other  hand,  being  merely  ornamental  and  symbolic  features  on  vases  and  being 
made  of  a  common  and  non-precious  material,  there  was  no  occasion  to  flatten 


a  b 

Fig.  344- 

Fig.  343. — Small  gold  figurine  of  the  armadillo.     Heye 

collection.     '/' 
Fig.  344.  — Gold  figurine  of  a  frog;   a. — dorsal  view, 

6. — profile  view.     ''' 


METAL. 


203 


the  extremities.  Moreover  flattening  suggests  hammering,  which  plays  no  part 
in  ceramic  technique,  but  which  does  belong  to  metal  technique.  It  is  interesting 
to  note  therefore  where  the  metal  technique  (or  rather  the  effects  of  it)  has  been 
borrowed  by  the  potter  (see  PI.  XIV,  figs.  6,  c  and  d). 

A  figurine  of  two  frogs  united  by  the  fusion  of  two  adjacent  hindfeet  and  also 
by  a  tiny  rod  connecting  the  heads,  is  shown  in  figure  345.     Here  all  the  forefeet 


Fig.  345- —  Two  united  images  of  the  frog  in  base  metal 
plated  with  gold  ;  from  El  Banco.     '/' 


Fig.  346. — Two  gold   figurines  of  the  frog  united  by 
bands  of  twisted  wire.     V' 


are  simple  rings  for  suspension.  The  group  was  cast  in  base  metal,  then  entirely 
covered  by  a  thin  layer  of  gold,  which  has  been  removed  in  places  from  the  edges 
by  flaking  or  by  the  disintegration  of  the  base  metal.  This  specimen  is  from 
El  Banco,  Mount  Chiriqui.  In  figure  346,  the  two  frogs  are  united  by  two  bands 
of  twisted  wire,  which  may  have  been  cast  separately  from  the  frogs  themselves. 
The  rings  that  take  the  place  of  the  two  adjacent  forelegs  are  very  much  worn 
by  the  thread  from  which  the  group  was  once  suspended. 

Two  of  the  gold  figurines  of  frogs  are  reproduced  in  color  (PI.  XL VIII.  figs,  a 
and  b).     The  head  of  the  smaller  of  these  (fig.  a)  is  ornamented  with  what  appear 
to  be  two  gold  wires,  each  coiled  on  itself  at  both  ends,   a  stylistic  way  of  rep- 
resenting   the    snake's    head    (see   fig.  /  and    text-fig.  354). 
The  coils  however  are  not  visible   from  the  ventral  surface 
and  were  evidently  cast  with  the  rest  as  one  piece.     The  larger 
specimen  (fig.  6)  has  large  eyes  in  the  shape  of  sleigh-bells, 
each  supplied  with  a  small  ball  of  metal,  apparently  of  copper 
or  a  low-grade  alloy  of  copper   and   gold.     This   is  without 
doubt  the  frog  mentioned  by  Bollaert,1  as  it  agrees  with  his 
description  even  to  color  and  weight. 

All   the  foregoing  may  be  said  to  belong  to  the  metallic 
type  of  frog.     An  exception  that  proves  the  rule  is  seen  in 

figure  347,  which  is  a  ceramic  type  of  frog  (compare  with  fig.  100).  The  body 
is  short  and  high  and  there  is  no  flattening  of  the  hindfeet.  The  eyes  in  this 
case  are  also  prominent  and  bell-like.  The  ancient  American  bell  may  have  been 
derived  from  such  a  rendering  of  the  animal  eye. 

In  the  Meredith  Rowland  collection  at  the  Metropolitan  Museum,  there  is  a 
gold  frog  which  like  the  preceding  has  not  the  flattened  hindfeet  (fig.  348).  It  is 
a  fine  specimen  with  a  nose  decoration  of  spirals,  a  herring-bone  pattern  down  the 


Fig.  347. — Gold  image  of 
a  frog  ;  ceramic  type.  '/» 


1  Op.  cit.,  31   and  32. 


204 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Fig.  348.  —Gold  image 
of  a  frog.  Metro- 
politan Museum. New 
York.  '/• 


back,  and  eyes  resembling  foot  symbols.  On  the  bottom  of  each  forefoot  there  is  a 
ring  for  suspension.  The  Museum  possesses  another  small  gold  figurine  of  a  frog  of 
the  type  figured  by  Bollaert,1  and  probably  the  identical  specimen. 

Figurines  of  the  alligator  are  not  so  numerous  as  those  of 
the  frog.  One  of  the  simplified  forms  is  reproduced  in  figure  349. 
This  specimen,  which  was  purchased  from  de  Zeltner,  was  called 
in  his  catalogue  "  une  sorte  de  poisson  " ;  but  it  is  an  alligator, 
as  indicated  by  the  prominence  between  the  eyes,  and  the  long 
jaws  showing  teeth.  The  usual  characteristic  recurving  of  the 
snout  is  represented  here  by  a  simple  ring  at  the  end  of  the 
upper  jaw  (compare  with  fig.  331). 

Mr.  George  G.  Heye  of  New  York  has  a  large  collection  of 
ancient  Chiriquian  gold  ornaments,  among  them  the  representa- 
tion of  an  alligator  (fig.  350).  Mr.  Utley  obtained  this  inter- 
esting specimen  at  Pueblo  Viejo.  The  attitude  is  one  of  motion  ; 
spreading  legs,  head  raised  and  tail  curved  to  one  side.  A 
single  row  of  long  spines  reaches  from  between  the  eyes  to  near 
the  tip  of  the  tail.  Under  each  forefoot  there  is  a  ring  for  sus- 
pension. The  prominence  between  the  eyes  and  the  upturned  snout 

are  both  characteristic.  It  holds 
in  its  mouth  a  part  of  a  human 
leg  (from  the  knee  down).  The 
latter  is  recognized  as  human  by 
the  flat  foot  and  ankle-band.  The 
crab-god  reproduced  in  color  (see 
PI.  XLVIII,  fig.  h*)  also  holds  in 
its  mouth  the  lower  half  of  a 
human  leg. 

The  New  York  Public  Library 
(Lenox  Foundation)  is  the  for- 
tunate possessor  of  some  of  the 
gold  ornaments  brought  to  New 
York  by  Mr.  J.  F.  Bateman  of 
Panama,  who  accompanied  the 
first  exploring  party  to  Chiriqui, 
in  August,  1858.  Mr.  Bateman 
exhibited  his  collection  at  a  meet- 
ing of  the  American  Ethnological 
Society,  in  October,  1860.  It  is 
stated  in  the  Proceedings2  that 
"  The  articles  exhibited  differed 
very  much  in  size  and  form,  a  cricket,  frog,  a  sea-shell,  and  a  man,  each  from 
one  to  two  inches  in  length,  and  an  ounce  or  two  in  weight ;  a  tiger  or  jaguar, 
five  ounces,  and  an  alligator,  eight  and  a  half  ounces,  (the  heaviest  and  largest 

1  Op.  cit,  32. 

2  Bull.  Amer.  ethn.  soc.,  I,  21,  1861. 


Fig.  349- 


Fig.  35°- 

Fig.   349-  -  Simplified    alligator    figurine   in   low-grade    gold.     '/' 
Fig.   350. — Gold  image  of  an  alligator   holding    in    its   mouth  a 
human  leg  ;  from  Pueblo  Viejo.     Heye  collection.     '/' 


METAL. 


205 


figure  yet  discovered)  and  a  circular  piece  of  sheet  gold,  about  six  inches  in  diameter, 
weighing  one  and  a  half  ounces,  with  two  holes,  apparently  for  suspension." 

The  large  alligator  and  jaguar,  the  circular  piece  of  sheet  gold,  human  figurine 
and  frog  were  afterwards  bought  by  Mr.  Robert  L.  Stuart  and  presented  to  the 
Lenox  Library.  The  alligator  is  reproduced  in  figure  351.  According  to  Mr.  Elliott 


Fig.  351.— Large  massive  gold  image  of  an  alligator.     New  York  Public  Library  (Lenox  Foundation).     '/• 

of  the  Library,  its  weight  is  eight  ounces  and  24.6  dwts.,  or  250.42  grams.  The 
length  somewhat  reduced  by  the  curving  tail  is  fifteen  centimeters.  Although 
head,  body  and  tail  (the  latter  two  open  ventrally)  are  hollow,  the  walls  are  every- 
where massive.  The  nostrils  and  eyes  are  prominent;  but  contrary  to  the  rule, 
there  are  no  dorsal  scales  and  spines. 
On  the  breast  there  is  a  single  ring  for 
suspension.  The  gold  has  the  appear- 
ance of  being  about  20  carats  fine.  It  is 
no  wonder  that  the  country  from  whence 
this  specimen  came  was  called  Castillo, 
del  Oro. 

There  may  also  be  seen  with  the  Stuart 
collection  a  curious  figurine  given  by 
Mr.  Lenox  himself  and  purporting  to  be 
from  Chiriqui  (fig.  352).  This  was  evi- 
dently one  of  the  early  discoveries,  prob- 
ably the  idealistic  image  that  Bollaert 
calls :  "  A  bat,  with  outspread  wings  and 
legs,  having  a  dragon-like  head,  sur- 
mounted by  four  horns,  curling  inwards, 
of  the  purest  gold  and  weighed  six 
ounces."  l  The  same  specimen  was 
figured  in  Harper's  Weekly,  August  6, 
1859 ;  the  illustration  however  was  a 
negative  instead  of  a  positive,  in  which 
the  head  was  so  inclined  as  to  give 


Fig-  352- — Bat-shaped  image  in  fine  gold.     New  York 
Public  Library  (Lenox  Foundation).     '/• 

a    very    different    appearance    from    the 


original.     Liiders  also  reproduced   this  piece   as  part  of  the  Bugavita   treasure  of 
1  Op.  cit.,  31. 


206 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


1858-59.  It  may  represent  the  vampire  (Vampyrus  spectrum}.  Peter  Martyr  (An- 
ghiera),  writing  at  the  time  of  the  Spanish  Conquest,  said  that  on  the  Isthmus  of 
Darien  the  lives  of  men  as  well  as  of  cattle  were  in  danger  from  blood-sucking 
bats.  Alston,  on  the  contrary,  later  declared  the  blood-sucking  propensity  of 
these  creatures  to  be  mythical. 

Among  Chiriquian  gold  figurines,  representations  of  the  bird  dispute  first  place 
with  those  of  the  frog.  They  are  variations  of  one  and  the  same  kind  of  bird, 
probably  the  sacred  parrot  that  played  an  important  role  in  the  ceramic  art  of 
this  ancient  people.  It  is  characterized  by  a  long  hooked  beak  and  tufts  on  the 
head.  The  expanded  wings  and  spreading  tail  suggest  flight.  For  two  reasons, 

the  bird  in  flight 
would  be  an  excel- 
lent subject  from  the 
standpoint  of  the  gold- 
smith, viz.;  its  adapta- 
bility as  a  breast 
ornament  and  the  op- 
portunity it  gave  to 
produce  an  apparent- 
ly large  figurine  out 
of  a  relatively  small 
amount  of  gold. 


The  ornaments  "  ru- 


dely shaped  like  ea- 
gles" that  Columbus 
saw  among  thelndians 
of  theVeraguan  coast 
were  probably  rep- 
resentations of  this 
same  macaw  or  parrot. 
One  of  the  Indians  is 
said  to  have  had  a  gold  eagle  (parrot)  worth  twenty-two  ducats. 

The  largest  of  these  bird  forms  (fig.  353)  has  a  total  spread  of  wing  of  18.8  centi- 
meters. The  head,  body  and  tail  appear  to  have  been  cast  in  one  piece.  The 
head  ornaments  and  the  wings  were  cast  independently  and  welded  on  afterwards, 
the  effects  of  welding  being  plainly  visible  on  the  dorsal  side.  There  is  a  broad 
band  about  the  neck  made  to  resemble  a  series  of  wire  strands,  that  bears  an 
incised  zigzag  pattern.  One  ring  for  suspension  is  situated  on  the  beak  and  an- 
other on  the  back  of  the  neck.  The  head,  neck  and  body  are  hollow  and  open  along 
the  back,  the  figurine  presenting  an  appearance  of  completeness  only  when  seen 
from  the  front.  It  is  an  alloy  of  copper  and  gold  (six  carats)  with  a  little  silver,  and 
is  richer  in  some  parts  than  in  others.  A  similar  piece  is  shown  in  figure  354 ;  here 
the  tufts  on  the  head  each  consists  of  the  head  and  neck  of  a  snake. 

In  figure  355,  the  tufts  are  formed  of  three  pairs  of  gold  wires  coiled  at  their 
free  ends.  They  show  irregularities  in  casting.  The  wings  and  tail  are  beaten 
out  to  a  thinness  of  less  than  half  a  millimeter;  the  marks  of  hammering 


Fig.   353. — Large   image  of  a  bird  in  an    alloy  of  copper,  gold  and  silver 


METAL. 


207 


Fig-  354- 


are  visible  on  the  back  but  have  been  almost  completely  removed  from  the  front  by 
a  process  of  burnishing  that  has  left  numerous  fine  striae,  which  cross  in  all  directions. 

The  Heye  collection  in- 
cludes a  bird  figurine  with 
plain  wing-shaped  tufts  al- 
most as  large  as  the  wings 
themselves  (fig.  356).  A  small 
reptile  is  held  in  its  beak. 
A  similar  example,  also  from 
the  Heye  collection,  is  shown 
in  figure  357.  In  this  case, 
a  fish  is  held  in  the  beak ; 
and  the  tufts  on  the  head, 
instead  of  being  plain,  are 
alligator  heads,  as  indicated 
by  the  curving  jaws  and  teeth  ; 
the  latter  are  represented 
by  pellets,  as  was  the  case 
in  one  painting  of  the  alli- 
gator. The  piece  is  massive 
and  of  fine  gold.  The  hammer 
marks  are  seen  to  excellent 
advantage  on  the  back  of  the 
wings  and  tail.  Both  of  these 
specimens  are  from  the  valley 
of  Rio  Chiriqui  Viejo. 

A  small  specimen  (fig.  358) 
in  the  Heye  collection  is 
made  up  of  pieces  of  sheet 
gold  somewhat  thicker  than 
that  in  the  average  plaque. 
The  neck,  body  and  tail  are 
one  piece.  The  wings  are 
welded  to  the  breast,  while 


the   head  with  its  ornaments 

is  made  up  of  five  parts.    The 

jaws    and    nuchal    crest,    so 

characteristic  in  paintings  of 

the  alligator,   are  gold  wires 

laid  on  pieces  of  sheet  gold 

that    compose   not    only    the 

bird's  head  but  also  the  necks 

of  the  two  alligators.     The  nuchal  crests  are  so  coiled  as  to  represent  the  eyes 

of  the   bird,  thus   serving  two  purposes.     One  small  gold  image  of  a  bird  differs 

from  all  the  foregoing  in  that  it  is  intended   to   be   seen    from  the  back  instead 

of  the   front   (fig.  359).      The  wings   also   are   differently   placed.     The  ring   for 


Fig-  355- 

Fig.  354. — Gold  figure  of  a  bird,  the  head  surmounted  by  snake  heads.    '/' 
Fig.  355. — Gold  figure  of  bird,  the  tufts  being  made  of  coiled  wire; 
a. — ventral  view,  b. — profile  view.     V' 


208 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


suspension  is  formed  half  by  the  long  hooked  beak  and  half  by  a  short  gold  wire 
attached  to  the  breast. 

A  highly  conventionalized  double  bird  form  is  reproduced  in  color  (PI.  XLVIII, 
fig.  c).  The  two  birds  are  united  at  the  end  of  their  tails,  by  one  wing  in 
common  and  by  a  bar  connecting  the  heads  in  the  region  of  the  eyes.  Contrary 


Fig.  356. — Gold  image  of  a  bird,  with  large  wing- 
shaped  tufts,  holding  a  small  reptile  in  its  beak. 
Heye  collection.  '/' 


Fig.  357. —  Gold  figure  of  a  bird,  with  a  fish  held  in  its 
beak  and  with  conventionalized  alligator  heads  serving 
as  tufts.  Heye  collection.  '/' 


to  the  rule,  wings  and  tails  are  burnished  on  both  dorsal  and  ventral  surfaces. 
The  gold  is  particularly  pure.  This  type  of  double  bird  is  frequently  met  with 
in  Costa  Rica,  Mr.  Keith  alone  possessing  sixteen  examples  of  it  from  Mercedes. 

We  find  representations  of  the  jaguar  not  only  in  stone 
and  pottery  but  also  in  gold.  They  all  agree  in  having 
a  wide-open  mouth  revealing  teeth.  The  animal  illustrated 
in  figure  360  is  a  departure  from  the  conventional  method  of 
rendering  life  forms  in  repose.  Here,  there  is  action  in  every 
member,  a  very  strong  contrast  to  the  formal  pose  of  the 
jaguar  image  reproduced  in  color  (PI.  XLVIII,  fig.  <£).  The 
head,  neck  and  tail  of  the  latter  are  cast  in  the  round, 
although  hollow. 

Gold  objects  representing  the  human  form  as  a  whole  or 
in  combination  with  other  animal  forms  comprise  some  of 
the  most  interesting  pieces  of  the  series.  For  convenience, 
the  apelike  forms  are  also  placed  in  this  group,  as  it  is  often 
difficult  to  determine  whether  ape  or  man  was  intended.  Figure  361  is  frankly 
apelike.  It  is  a  two-headed  monster.  The  two  long  monkey  tails  ending  in  snake 
heads  are  curved  upward  on  either  side  and  are  held  in  the  single  pair  of  hands. 
The  body  is  so  constructed  as  to  form  an  elongated  bell  or  rattle,  inside  of  which  is  a 


fig- 3S8-— Small  bird  fig- 
urine in  gold,  its  head 
adorned  with  two  con- 
ventionalized alligator 
heads.  Heye  collection. '/' 


METAL. 


209 


subangular  pellet,  apparently  of  copper.  The  piece,  which  seems  to  have  been 
cast  as  a  whole,  has  lost  much  of  its  head  ornamentation  of  coiled  wire,  presum- 
ably during  its  use  in  recent  times  as  a  belt  ornament.  When  thus  employed  it 
was  held  in  place  by  a  flat  tongue  attached  to  the  back,  the  free  end  of  which 
could  be  inserted  under  the  belt ;  but  this  work  of  the  modern  jeweler  has  been 
removed.  Two  similar  specimens  have  been  found  in  Costa  Rica  (Mercedes  and 
Rio  General)  and  are  now  in  the  Keith  collection. 


Fig.  359- 


Fig.  360. 


Fig.  361. 


Fig.   359. — Small  gold  figurine  of  a  bird;  a,  dorsal  view;  b,  profile  view.     V« 

Fig.   360. — Gold  figure  of  the  jaguar.     '/' 

Fig.  361. — Gold  image  of  an  apelike  monster  with  two  heads.     Vi 

In  the  Heye  collection  is  a  small  ape  figurine  (fig.  362)  that  is  similar  in  attitude 
to  the  representations  of  the  monkey  on  the  stone  and  clay  stools,  except  that 
the  tail  is  longer,  being  arched  over  the  head  and  held  in  the  hands  as  a  rope 
jumper  holds  his  rope.  The  pose  is  exactly  like  that  in  the  repousse  figure  of  a 
monkey  on  a  circular  gold  plaque  from  Cartago,  Costa  Rica,  which  is  now  in  the 
National  Museum  at  San  Jose.  It  should  also  be  compared  with  the 
type  reproduced  in  figure  361  as  well  as  with  a  specimen  illustrated 
by  Holmes.1 

In  point  of  casting,  one  of  the  most  interesting  and  delicate 
pieces  is  seen  in  Plate  XLIX  (fig.  a).  Although  of  intricate  design, 
there  is  no  external  evidence  of  the  joining  of  parts.  The  new  sur- 
face bloom  everywhere  gives  to  the  group  the  appearance  of  being 
fresh  from  the  molds.  There  is  no  burnishing  and  no  hammering 
except  two  blows  on  the  left  foot  of  the  left  figure.  The  braid 
of  gold  wire  that  forms  the  hollow  square,  within  which  the  two 
figures  are  set,  is  so  deftly  cast  that  in  one  place  the  light  shows 
between  the  strands.  The  same  effect  is  produced  by  plaiting  with  three  wires. 
The  two  human  figures  with  elbows  touching  are  holding  to  their  mouths  some- 
thing that  resembles  a  conch-shell  or  a  fish.  A  large  group  from  Chiriqui  similar 
to  this  was  recently  purchased  by  the  British  Museum.  The  specimen  is  9.5  centi- 


Fig.  362.— Small 
gold  image  of  an 
ape.  Heye  col- 
lection. '/' 


1  Ancient  art  of  the  province  of  Chiriqui,  fig.  29. 
MEMOIRS  CONN.  ACAD.,  Vol.  III. 


27 


210  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

meters  broad  by  6  centimeters  high  and  contains  gold  to  the  value  of  about  $125. 
Instead  of  two  human  figures,  there  are  eight,  all  of  them  holding  the  conch-shell 
to  the  lips.  The  two  central  figures  are  large  and  their  bodies  are  converted  into 
bells;  about  them  are  grouped  the  six  small  figures.  Among  the  clay  whistles  is 
one  (see  fig.  315)  that  represents  a  monkey  holding  a  fish  before  its  mouth.  It 
would  be  interesting  to  know  whether  these  representations  all  refer  to  the  same 
myth  and  what  connection,  if  any,  they  might  have  with  a  similar  theme  in 
Peruvian  art,  viz.,  a  bird  holding  a  fish. 

A  fine  example  of  the  human  figurine  is  reproduced  in  color  (PI.  XLVIII,  fig.  e). 
The  eyes,  mouth,  nose  and  ears  are  all  prominent,  the  latter  resembling  coils  of 
wire.  The  arms  are  half  extended,  the  right  hand  holding  what  may  be  inter- 
preted as  a  rattle  (see  fig.  273)  and  the  left,  a  long  rod,  probably  a  flute,  one  end 
of  which  is  in  the  mouth  and  the  other,  enlarged  at  the  end  by  a  double  coil  of 
wire,  is  free.  The  long  fingers  are  executed  with  care.  The  brow  is  adorned 
with  what  appears  to  be  a  three-ply  braid,  to  each  end  of  which  is  attached  a 
snake's  head.  The  only  articles  of  apparel  consist  of  a  loin-girdle  terminating  in 
a  coil  at  either  side,  a  small  square  apron  covering  the  pubis,  and  knee-bands. 
The  whole  is  cast  as  one  piece,  with  the  head,  body  and  legs  hollow  and  left 
open  at  the  back.  This  specimen  was  purchased  from  de  Zeltner,  whose  relatively 
small  collection  contained  many  choice  examples  of  ceramic  as  well  as  the  gold- 
smith's art.  His  description  differs  from  my  own  in  respect  to  the  head-dress 
and  the  object  held  in  the  right  hand.  He  also  thought  that  the  flattening  of  the 
feet  was  intended  to  suggest  a  kind  of  footwear,  while  in  my  opinion  it  means 
nothing  more  than  does  the  characteristic  flattening  of  the  hindfeet  of  the  frog. 
It  has  already  been  suggested  that  the  lateral  flattening  of  the  frog's  feet  gave 
greater  stability,  when  suspended  from  the  neck  of  the  wearer.  A  like  increase 
of  stability  is  here  provided  for  in  the  lateral  extension  of  the  arms  and  in  the  ob- 
jects held  in  the  hands.  There  is  therefore  no  need  of  an  exaggerated  flattening 
of  the  feet.  Wherever  there  is  but  a  single  median  ring  for  suspension,  the 
extremities  are  flattened  and  extended  laterally  to  give  balance  ;  and  where 
they  are  not  so  expanded,  the  desired  state  of  equilibrium  is  attained  in 
another  way ;  i.  e.,  by  two  lateral  rings  for  suspension.  It  has  been  suggested 
that  the  feet  were  flattened  in  order  that  they  might  be  inserted  in  a  crevice, 
thus  supporting  the  figurine  in  an  erect  position.  There  is  some  evidence  tending 
to  prove  that  the  larger  pieces,  especially  those  mounted  on  a  vertically  flattened 
horizontal  bar,  may  have  been  thus  placed  or  else  simply  rested  against  a  wall 
or  other  suitable  object ;  for  in  the  large  figurine  of  the  alligator-god  (see 
PI.  XLVIII,  fig.  g}.  the  ring  for  suspension  at  the  back  bears  no  marks  of  wear, 
while  the  lower  edge  of  the  bar  at  the  feet  is  worn  much  more  than  is  the 
upper  edge  of  the  bar  at  the  head. 

This  same  deity  is  represented  by  numerous  gold  figurines,  which  however 
are  usually  much  smaller  and  simpler  than  the  foregoing.  It  may  have  been  a 
god  similar  to  Pan  of  Greek  mythology.  Another  example  is  given  in  Plate  XLIX 
(fig.  6),  where  the  attitude  is  the  same,  the  rattle  being  nearly  always  in  the 
right  hand  and  the  flute  or  stick  in  the  left.  There  is  a  simple  fillet  of  gold 
about  the  loins,  and  the  knee-bands  have  dropped  till  they  might  be  called  anklets. 


METAL.  211 

The  sex  is  masculine.  The  large  ears  are  delicate  sigmoid  scrolls,  one  coil  of 
which  is  much  greater  than  the  other.  The  casting  is  quite  thin.  This  same 
type  is  found  as  far  north  as  Mercedes,  Costa  Rica. 

A  representation  of  the  same  deity,  but  with  variations  in  the  details  of  handling, 
is  shown  in  Plate  XLIX  (figs,  c  and  c').  It  is  immediately  identified  by  the  rattle 
in  the  right  hand,  and  the  flute  held  to  the  mouth  by  the  left.  The  features  are 
carefully  wrought.  The  end  of  the  nose  seems  to  be  pierced  by  a  short  hori- 
zontal rod.  The  face  is  set  in  a  sort  of  frame,  the  lower  end  of  which  is  missing. 
From  behind  this  frame  protrudes  the  head-dress  adorned  with  a  number  of 
blunt  horns.  The  median  fluted  piece  at  the  top  is  a  flattened  and  curved 
loop  that  served  as  a  means  of  suspension  after  the  two  scapula  rings  had 
worn  through.  The  figurine,  which  is  thick  although  hollow  and  open  at 
the  back,  bears  evidence  of  much  wear.  Since  there  was  a  ring  for  suspension 
back  of  each  shoulder,  it  was  not  thought  necessary  to  extend  the  arms  laterally 
and  flatten  the  feet.  The  sex  is  male.  This  may  be  the  specimen  of  which 
Mr.  J.  F.  Bateman  speaks  in  a  communication  to  the  American  Ethnological 
Society.1 

A  small  specimen  from  the  Lamson  collection  (fig.  d)  is  reproduced  here  be- 
cause it  is  apparently  a  kindred  deity.  The  figure  holds  a  rattle  in  each  hand. 
In  this  case,  as  well  as  in  the  three  foregoing,  it  will  be  noted  that  the  at- 
titude of  the  arms  suggests  that  the  rattles  are  in  action.  The  head  is  adorned 
with  two  pairs  of  plumes.  The  band  about  the  loins  is  conspicuous ;  it  seems 
to  have  been  applied  to  the  figure  and  made  fast  by  hammering  down  the  free 
ends  at  the  back.  The  legs  are  flattened  bars  of  gold,  grooved  both  in  front  and 
at  the  back,  and  are  probably  welded  to  the  trunk.  The  rest  of  the  figurine 
appears  to  have  been  cast  as  one  piece,  with  the  possible  exception  of  the  loin- 
girdle,  the  ring  at  the  back  and  the  rattles.  The  latter  two  may  have  been  cast 
first  and  added  to  the  resin  core  previous  to  running  the  final  mold.  This  spec- 
imen has  the  outward  appearance  of  being  about  18  carats  fine ;  in  reality  it 
is  considerably  less.  The  processes  by  which  the  surface  was  finished  in  a  finer 
quality  of  gold  than  the  foundation  is  not  definitely  known. 

Belonging  to  the  Heye  collection  is  a  figurine  with  features  and  head-dress 
not  unlike  those  of  the  foregoing ;  it  is  reproduced  in  figure  e.  Here  there  is 
but  a  single  rattle,  which  contrary  to  custom  is  held  in  the  left  hand,  the  right 
being  extended  downward  almost  parallel  with  the  body.  Another  human  figurine 
in  the  Heye  collection  (fig.  /)  has  a  remarkable  head-dress  resembling  the  skil 
of  the  Tlingit  Indians.  A  similar  head  ornament,  unfortunately  broken,  occurs 
on  one  of  the  stone  figurines  of  the  Yale  collection  (see  fig.  37),  also  on  a  gold 
figurine  from  Mercedes,  Costa  Rica,  recently  collected  by  Mr.  Keith.  Both  these 
gold  figurines  are  from  Divala  and  are  of  rich  yellow  gold,  the  former  being 
approximately  20  carats  fine. 

An  unusual  group  consisting  of  two  human  figurines  is  in  the  Howland  col- 
lection at  the  Metropolitan  Museum  (fig.  </).  It  is  said  to  have  been  found  in  a 
Chiriquian  tomb,  but  looks  more  like  the  art  of  Colombia.  The  two  images  are 

1  Bulletin,  I,  21,  1860-'61. 


212  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

exactly  alike,  forming  a  group  that  is  bilaterally  symmetrical.  In  the  outer  hand 
of  each  figure  is  something  resembling  a  canoe  paddle ;  while  in  each  inner  hand 
a  staff  is  held  vertically  One  of  these  seems  to  be  set  with  a  tomahawk  blade 
and  the  two  are  bound  together  at  three  or  four  points.  In  addition  to  the 
head-dress,  the  central  feature  of  which  resembles  the  blade  of  a  paddle,  there 
is  an  elaborate  necklace  and  loin-band  from  which  there  hangs  a  short  apron. 
The  long  pointed  noses  are  turned  sharply  upward  (retrousse).  The  ear  orna- 
ments, the  cylindrical  ends  of  which  are  seen  above  each  ear,  are  characteristic- 
ally Colombian. 

The  ancient  artificers  of  Chiriqui  understood  the  value  of  a  frame  to  a  picture. 
One  example  has  already  been  given  in  figure  a.  A  second  instance  is  noted 
in  figures  h  and  h\  which  is  also  a  fine  illustration  of  skill  in  hammering  and 
uniting  castings.  The  hammer  marks  are  visible  on  both  the  front  and  back 
of  the  frame,  but  the  welding  shows  only  on  the  back.  The  human  figurine 
was  molded  in  a  single  piece ;  the  two  sides  and  bottom  of  the  frame  were 
cast  in  three  pieces.  The  dorsal  view  shows  how  their  thinness  was  increased 
by  hammering  and  how  the  various  elements  were  united  —  the  ears  and 
hands  to  the  sides  of  the  frame,  and  the  latter  and  the  feet  to  the  bottom.  Two 
slender  grooved  vertical  bars,  are  attached  to  the  elbows  and  to  the  lower 
part  of  the  frame,  dividing  the  space  that  separates  the  sides  of  the  latter 
from  the  legs.  To  these  bars  and  to  the  sides  of  the  frame  are  attached  six 
small  triangular  castings,  three  on  each  side.  They  are  similar  in  shape  to  some 
of  the  spine-  or  scale-motives  painted  on  pottery  of  the  alligator  and  lost  color 
groups.  Two  rods  of  gold,  welded  at  points  between  the  shoulders  and  the  frame, 
are  carried  some  distance  above  the  head-dress  and  end  in  recurved  loops  that 
droop  forward. 

The  fact  that  a  repetition  of  the  human  figure  with  similar  attributes  occurs  not 
only  in  metal  but  also  in  clay  and  stone  tends  to  increase  our  interest  in  ancient 
Chiriquian  mythology,  which  abounds  in  original  elements  and  is  so  highly 
developed.  If  only  its  history  could  be  known  and  names  be  given  to  these 
distinct  groups  of  deities,  as  has  been  done  for  Egypt,  Greece  and  Mexico ! 

Two  groups  have  already  been  cited :  the  man  holding  a  conch  or  fish  to  his 
mouth  and  the  man  with  flute  and  rattle.  A  third  is  represented  by  the  small 
figurine  in  color  (PI.  XLVIII,  fig.  /).  This  is  characterized  by  the  head-dress  and 
by  the  act  of  pulling  two  snakes  from  its  wide-open  mouth,  one  held  in  each 
hand  by  a  grip  about  the  neck.  Each  head  is  formed  by  two  wires  coiled  at 
the  ends,  while  the  body  of  each  is  composed  of  two  twisted  wires.  The  head 
of  the  snake,  in  the  right  hand,  has  been  broken  off.  The  foundation  of  the  head- 
dress is  low  and  flat.  Its  chief  ornamental  feature  consists  of  two  snake  heads 
similar  to  the  foregoing,  but  with  bodies  made  of  wires  that  are  not  twisted. 
The  three  projections  on  the  front  of  the  head-dress  would  be  meaningless, 
were  it  not  for  other  representations  of  the  same  deity,  wherein  these  ele- 
ments are  treated  in  a  more  realistic  fashion.  They  are  bird  heads,  an  illustra- 
tion from  the  work  of  Holmes  (fig.  30)  leaving  no  doubt  on  this  point.  The 
snake  heads  in  Holmes's  figure  are  also  more  realistic,  resembling  more  the 
serpent  heads  with  forked  tongues  on  the  black  incised  pottery  (serpent  ware). 


METAL. 


213 


There  are  other  minor  non-essential  differences  of  detail.  The  Yale  specimen, 
for  instance,  has  a  loin-girdle  and  knee-bands,  while  the  one  described  by 
Holmes  has  nothing  about  the  loins.  On  the  other  hand,  the  latter  example 
has  an  additional  snake  head  attached  to  each  foot  and  is  not  only  larger  but  is 
also  framed  in  at  the  top  and  bottom  by  the  customary  broad  flattened  bars 
of  gold. 

The  ingenuity  of  the  ancient  Chiriquian  goldsmith  was  expended  not  only  on 
these  skilfully  executed  pieces  but  also  on  masses  of  native  gold  that  gave  sugges- 
tion of  the  human  form  or  parts  of  it.  Figure  363  is  an  example.  It  represents  a 
seated  figure  with  outstretched  arms,  clothed  in  a  broad  loin-cloth  and  cap.  The 
cap  was  evidently  welded  on ;  the  loin-cloth  and  arms  may  have  been  also.  The 
unevenness  of  the  surface,  particularly  on  the  back,  has  been  removed  by  grind- 
ing. A  somewhat  similar  piece  is  repro- 
duced in  figure  364. 

Perhaps  the  most  important  and  re- 
markable divinity  of  this  series  is  the 
specimen  with  a  human  body  and  alli- 
gator head,  illustrated  in  Plate  XLVIII 
(fig.  g).  Although  the  figure  is  large  and 
in  an  elaborate  setting  it  is  made  of  rich 
yellow  gold.  As  far  as  the  eye  is  able 
to  discern,  the  whole  was  run  in  a 
single  mold.  The  alligator-god  standing 
erect  in  the  center  is  framed  in  by  a 
broad  thin  bar  at  the  top  and  the  bottom, 
by  a  snake  on  each  side  and  an  alli- 
gator head  at  each  of  the  four  corners. 
The  conception  is  original  and  skilfully 
executed.  The  ears  are  serpent  heads.  The  mouth  is  wide  open,  revealing  teeth, 
and  the  snout  is  coiled  downward  on  a  level  with  the  mouth,  presumably  to 
protect  it  from  breaking.  In  a  previous  chapter  it  was  noted  that  the  snout  of  the 
alligator  as  painted  on  pottery  was  invariably  recurved  upward.  The  goldsmith's 
favorite  way  of  indicating  the  eye,  viz.,  an  elongated  pellet  surrounded  by  a 
fillet  or  wire,  the  two  ends  being  brought  together  at  the  outer  angle  of  the  eye, 
is  shown  in  the  central  figure.  The  same  is  true  of  the  eyes  in  the  four  alligator 
heads  at  the  corners  ;  one  of  these  is  somewhat  disfigured  through  faulty  casting. 
The  teeth  in  each  of  these  four  heads  consist  of  a  series  of  four  pellets  resem- 
bling scales  rather  than  teeth.  Attention  should  also  be  called  to  the  fact  that  the 
wires  forming  the  snouts  are  coiled  upward  as  is  the  rule  in  representations  of 
the  alligator.  The  snake  on  each  side  bridges  the  distance  from  one  alli- 
gator head  to  the  other,  its  tongue  touching  the  snout  of  the  upper  and  its  tail 
that  of  the  lower.  The  anterior  half  of  the  snake  on  the  right  has  been  lost. 
The  group  is  intended  to  be  seen  from  the  front  only ;  hence  the  braiding  of 
three  wires  which  form  the  snake's  body  does  not  appear  on  the  back ;  neither 
do  the  pellets  and  fillets  that  represent  eyes,  teeth  and  jaws.  There  is  also 
no  reducing  of  the  irregularities  due  to  casting,  except  for  the  hammering 


Fig.  363. 


Fig.  364. 


Fig.  363.  — Seated  human  figure  fashioned  from  a  gold 

nugget,     '/i 
Fig.  364. — Standing   human    figure   fashioned    from    a 

gold  nugget.     '/' 


214 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


of  the  flat  bars  at  the  top  and  bottom.  This  idol  may  have  graced  a  shrine 
instead  of  being  a  personal  ornament.  The  ring  for  suspension  is  not  worn ;  on 
the  other  hand,  the  bottom  of  the  lower  bar  is  worn  more  than  the  top  of  the 
upper  one ;  as  if  the  weight  of  the  figure  had  rested  there.  The  very  weight 
of  the  piece  would  militate  against  its  being  suspended  as  a  neck  ornament. 

An  alligator-god  not  so  large  as  the  foregoing  and  without  the  elaborate  setting 
is  in  the  British  Museum  (Cat.  No.  4536).  It  is  entered  as  a  "  monstrous  standing 
figure  with  horned  head,  one  horn  partly  broken  off,  the  other  horn  terminating 
in  a  serpent-like  head.  At  the  back  of  the  neck  is  a  loop.  Height  31/,,  inches ; 
width  3  inches ;  weight  303  dwts.  7  gr."  This  figure  stands  in  the  same  atti- 
tude as  the  Yale  specimen,  but  the  feet  do  not  rest  on  a  flattened  bar  and 
nothing  is  held  in  the  hands.  The  so-called  horns  project  laterally  in  the  same 
plane  as  the  half-extended  arms  and  end  in  inverted  alligator  heads  each  with 

wide-open  jaws,  the  upper  one  being  recurved. 
An  eye,  a  short  nuchal  crest  and  a  tooth  leave 
no  doubt  as  to  the  identity  of  these  heads. 

Bollaert  *  illustrates  another  example  of  this  deity 
which  is  not  so  large  as  either  of  the  foregoing, 
but  has  features  common  to  both  (fig.  365).  It 
stands  on  the  inverted  body  of  an  alligator,  which 
in  turn  is  supported  by  the  customary  horizontal  bar 
at  the  base,  the  points  of  contact  being  the  spines  on 
the  back  of  the  alligator,  whose  head  is  recognized 
by  an  eye,  upturned  snout  and  open  mouth  with 
teeth.  The  attitude  of  this  alligator-god  is  the  same 
as  in  the  foregoing  examples,  resembling  more  the 
British  Museum  specimen  in  the  head  and  head- 
dress, as  well  as  in  the  fact  that  nothing  is  held  in 
the  hands.  The  snout  ends  in  two  upturned  points. 
Instead  of  horns,  there  are  two  highly  conventional- 
ized inverted  alligators,  their  coiled  tails  being 

attached  to  the  sides  of  the  head,  and  their  heads  resting  on  the  shoulders  of 
the  alligator-god.  Bollaert,  as  well  as  a  subsequent  writer,  who  copied  his  il- 
lustration, failed  to  detect  the  alligator  motive  in  these  ornamental  and  presum- 
ably symbolic  features.  Bollaert  described  the  specimen  as  "  An  idol  of 
hideous  and  obscene  conception,  with  legs  and  arms  extended :  the  head  flat, 
having  a  fan-like  crown  at  the  back,  a  wide  open  mouth,  and  a  hooked  nose." 
There  is  a  fine  specimen  of  the  alligator-god  (fig.  366)  in  the  Heye  collection. 
The  head  resembles  that  of  the  example  in  the  British  Museum,  while  the  flat- 
tened bar  at  the  head  and  the  feet  suggest  the  Yale  specimen,  as  do  also  the 
four  attached  stylistic  heads  of  the  alligator ;  these  heads  however  are  exactly 
reversed  in  position. 

In  the  Keith  collection  are  two  splendid  alligator-gods  from  the  Huacal  de  los 
Reyes,  Rio  General,  near  Terraba,  which  fact  seems  to  indicate  that  the  domain 


Fig.  365. — Image  of  "  pure  gold  "  rep- 
resenting the  alligator-god.  (After 
Holmes.) 


1  Op.  cit,  32, 


METAL. 


215 


of  this  deity  extended  well  into  Costa  Rica.  In  figure  367  there  is  the  characteristic 
prominence  in  the  region  of  the  eyes  and  the  application  of  a  wire  coil  to  the 
end  of  the  nose  to  represent  the  hooked  snout.  The  body  of  a  snake  issues  from 


Fig.  366. — Gold   figure    of    the    alligator-god, 
collection.     '/' 


Heye 


Fig-  367.  — Image  of  gold  representing  the  alligator- 
god  ;  from  the  Huacal  de  los  Reyes,  Rio  General, 
near  Terraba,  Costa  Rica.  Keith  collection.  '/• 


the  mouth,  its  head  reaching  to  the  abdomen.  Three  of  the  conventionalized 
alligator  heads  have  the  curving  snout  broken  off,  only  the  one  on  the  left-hand 
side  of  the  head  being  complete  in  this  respect.  The  jaws  are  wide  open,  and 
across  them  run  bars  for  teeth.  The  piece  is  consider- 
ably worn.  The  bright  yellow  color  of  the  gold  is  only 
slightly  tinged  with  copper.  The  other  example  (fig.  368) 
has  a  similar  nose  piece,  but  the  fronto-nasal  prominence 
is  not  so  well  accentuated.  Instead  of  the  oft-recurring 
head-dress  composed  of  a  flattened  bar  with  attached 
conventionalized  alligator  heads,  there  is  a  framework 
enclosing  five  sigmoid  designs  in  the  shape  of  a  figure 
eight,  each  representing  a  multiple  alligator  motive.  The 
body  and  legs  are  human.  At  the  shoulders  and  hips, 
however,  are  four  additional  extremities,  as  if  to  give 
greater  weight  to  the  reptilian  attributes,  each  of  them 
ending  in  an  alligator  head  instead  of  a  foot.  What 
seems  to  be  a  double  alligator-god  from  this  same 
region  has  just  been  figured  by  Professor  Eduard  Seler.1 
but  the  half-tone  is  so  small  as  to  leave  one  in  doubt 
concerning  the  distinguishing  features.  One  of  the  nine 
Chiriquian  gold  images  exhibited  by  Mr.  Alfred  B.  Taylor2 
at  a  meeting  of  the  Numismatic  and  Antiquarian  Society 

1  Zeitschr.  f.  Ethnol.,  XLI,  Taf.  VI  (third  row  from  bottom),  1909. 

2  Golden  relics  from  Chiriqui  (paper  read  Oct.  5,  1865). 


Fig.  368. — Gold  figure  of  the 
alligator-god  ;  from  the  Hua- 
cal de  los  Reyes,  Rio  Gen- 
eral, near  Terraba,  Costa 
Rica.  Keith  collection.  */> 


216  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

of  Philadelphia  was  presumably  the  alligator-god.  It  is  described  as  a  "  Human 
figure  with  head  of  a  monster ;  the  mouth  open  and  horns  projecting  from  the 
end  of  the  nostrils ;  the  head  surmounted  by  a  sort  of  crown,  projections  from 
which  on  either  side  form  an  ornamental  framework  around  the  whole  figure." 
The  nine  specimens  were  a  part  of  the  famous  Bugavita  treasure. 

Were  the  evidence  furnished  by  the  gold  figurines  in  question  not  sufficient  to 
establish  the  existence  of  an  alligator-god  in  ancient  Chiriquian  mythology,  the 
pedigree  of  this  deity  could  still  be  based  on  the  remarkable  painting  in  the 
chalice  reproduced  in  Plate  I. 

As  a  rule,  metal  figurines  of  man,  monkey  and  bird  are  so  constructed  as  to 
present  the  front  or  ventral  surface  to  view ;  while  the  reverse  is  true  of  quadrupeds, 
reptiles,  fishes,  crustaceans,  etc.,  the  back  or  dorsal  view  being  the  one  exposed. 
This  rule  is  so  nearly  universal  (I  recall  but  one  exception,  fig.  359,  and  this 
may  be  an  importation  from  Colombia)  that  it  is  often  helpful  in  determining  the 
nature  of  figurines  with  mixed  attributes.  A  specimen  illustrated  by  Dr.  Max 
Uhle1  and  belonging  to  the  National  Museum  of  Costa  Rica  furnishes  a  case  in 
point.  Its  human  attributes  are  almost  entirely  wanting  but  for  the  fact  that  it 
is  intended  to  be  seen  from  the  front  or  ventral  surface ;  the  only  other  likeness 
to  man  is  in  the  region  of  the  neck,  shoulders  and  chest.  On  the  other  hand, 
the  alligator  attributes  are  everywhere  emphasized.  The  long  tail  is  brought 
forward  in  a  median  line  along  the  belly,  where  it  can  be  seen.  The  hindlegs 
are  brought  forward  in  order  to.  make  room  for  two  conventionalized  alligator 
heads,  one  attached  to  each  hip.  The  head  of  the  figure  is  supplied  with  sigmoid 
scrolls  of  wire  for  ears  and  is  surmounted  by  an  elaborate  head-dress  in  a  vertical, 
transverse  plane.  The  upper  margin  of  this  head-gear  is  serrated  to  represent 
the  dermal  markings  of  the  alligator,  while  at  each  side  is  a  stylistic  alligator 
head  with  all  its  most  characteristic  features,  even  to  the  triangular  scale-group 
symbols  on  the  back  of  the  head  and  neck.  The  hands  or  forefeet,  as  the  case 
may  be,  are  extended  outward  and  upward  till  they  touch  the  two  decorative 
heads  that  form  a  part  of  the  crown  of  this  alligator-god. 

Uhle  does  not  seem  to  have  understood  the  true  meaning  of  this  figure.  He 
described  it  as  half  man  and  half  beast  to  be  sure,  but  mistook  the  decorative 
and  symbolic  alligator  heads  attached  to  the  hips  for  the  lower  extremities,  which 
he  thought  ended  in  snake-like  heads.  The  hindlegs  proper,  which  had  been 
shifted  forward,  he  thought  might  be  "  a  third  and  fourth  or  a  fifth  and  sixth  leg." 
He  described  the  head-ornament  as  a  two-headed  snake. 

There  was  not  only  an  alligator-god  but  also  a  crab-god.  The  one  shown  in 
Plate  XLVIII  (fig.  K)  is  an  alloy  of  gold  and  copper,  with  a  very  thin  surface 
wash  of  gold  that  has  disappeared  from  the  more  exposed  portions.  The  specimen, 
which  is  a  single  casting,  is  a  most  ingenious  fusion  of  man  and  crab.  The 
combination  presents  the  dorsal  view  of  the  crab  and  the  ventral  view  of  the 
man,  with  the  result  that  both  appear  to  be  complete.  The  crustacean  carapace  is 
particularly  true  to  nature.  There  are  however  but  eight  crab  legs,  one  pair  not 
being  represented,  unless  the  human  legs  were  intended  to  take  the  place  of  those 

1  Globus,  LX,  164,  fig.  7,  1891. 


METAL. 


217 


missing.  The  chelipeds  or  front  legs  armed  with  large  claws  also  function  as 
the  man's  arms  and  are  lifted  as  if  to  seize  the  ears.  In  order  to  emphasize  their 
human  attributes,  they  are  each  supplied  with  two  arm-bands  or  bracelets.  The 
only  other  articles  of  adornment  or  apparel  are  the  crown  and  the  anklets.  The 
correct  number  of  toes  may  be  counted  on  the  feet,  which  are  hammered  rather 
thin  and  to  which  serpent  heads  are  attached.  The  human  features  are  large, 
the  nose  being  characteristically  so.  This  crab-god  holds  in  his  mouth  the  lower 
half  of  a  human  leg  severed  at  the  knee  —  an  interesting  fact,  the  significance  of 
which  can  only  be  surmised  (see  also  fig.  350).  The  crab's  body  being  hollow  and 
supplied  with  a  small  ball  of  copper  serves  as  a  bell.  The  dorsal  view  reveals 
a  slit  or  opening,  in  shape  like  a  horseshoe,  the  tongue  of  metal  outlined  by  it 
looking  for  all  the  world  like  the  turned-under  tail  of  a  crab,  but  it  is  fastened 
to  the  anterior  end,  perhaps  in  order  to  emphasize  the  fundamental  structure  of 
the  bell. 

Other   deities  with    mixed  attributes   also   occur,  the  bird-god  being  one.     An 
example  from   the   Heye   collection  is  seen  in  figure  369.     The  body  is  human ; 
the  head  that  of  a  bird.     There   is   the   customary  flat- 
tened   bar    at   the    top    and    bottom.     To    emphasize  the 
bird    attributes,    six    additional    bird    heads    are    attached 
to   the   figure,  two   of  these  taking   the   place  of  hands 
and  the  other  four  attached  to  the  bars  at  the  head  and 
feet,  respectively,  as  was  previously  seen  in  two  groups 
of  the   alligator-god   (see   PI.   XLVIII,   fig.  g  ;   and  text- 
fig.  366). 

Another  figurine  in  the  Heye  collection  probably  refers 
to  the  same  deity  (fig.  370).  Here  however  the  human 
attributes  are  minimized.  In  what  would  otherwise  be  a 
complete  bird  form,  human  arms  and  hands  simply  take 
the  place  of  wings.  There  is  the  usual  wide-spreading, 
slightly  forked  tail.  The  head  and  its  ornament  are  the 
same  as  in  the  preceding  figurine,  but  the  two  additional 
inverted  bird  heads  are  not  worked  out  in  detail. 

In  these  Chiriquian  deities  with  human  attributes,  it  is  generally  the  latter  that 
dominate.  That  is  so  say,  the  body  and  extremities  are  usually  human,  and  the 
head,  animal;  in  other  words,  a  man  with  an  animal  mask,  and  with  ornaments 
representing  parts  of  the  animal  in  question  or  of  some  other.  The  reverse  is 
true  in  one  specimen  belonging  to  the  Heye  collection  (fig.  371).  Here  the  head, 
breast  and  arms  are  human,  and  the  body  and  lower  extremities  avian.  The 
tail  being  much  reduced  in  size,  the  bird  characters  are  not  evident  at  first  glance. 
In  order  to  further  emphasize  these,  a  bird  foot  is  the  central  feature  of  the  elaborate 
head-dress  and  the  human  hands  are  replaced  by  bird  feet.  Two  conventional- 
ized bird  heads  are  also  placed  at  the  sides  of  the  body  and  serve  as  supports 
for  the  elbows. 

Among  the  Chiriquian  antiquities  exhibited  by  Captain  Dow  before  the  American 
Ethnological  Society,  nearly  fifty  years  ago,   was  a  gold  image   with   attributes 
suggesting  the  foregoing.     It  was  "  in  the  form  of  a  man,  holding  a  bird  in  each 
MEMOIRS  CONN.  ACAD.,  Vol.  III. 


Fig.  369. —  Gold  image  rep- 
resenting the  parrot-god. 
Heye  collection.  '/' 


218 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


hand,  sustaining  one  on  his  forehead."  1  It  should  be  noted  that  here  the  entire  bird 
takes  the  place  of  the  bird  foot  present  in  figure  371  —  evidently  another  example 
of  the  bird-god.  The  Imperial  Museum  of  Natural  History,  Vienna,  possesses  a 

small  bird-god  of  gold  —  an  avian  head 
and  wings  and  a  human  body  and  lower 
extremities.  Decorative  alligator  heads 
are  attached  to  the  calves,  one  on  each 
side,  and  a  small  animal  is  held  in  the 
beak  of  this  deity.  If  God  created  man 
in  His  own  image,  man  on  the  other  hand 
in  making  to  himself  graven  images  of 
his  god  or  gods  would  quite  naturally  give 
them  human  attributes.  This  rule  seems 
to  have  held  good  in  Chiriqui  as  well  as 
elsewhere.  It  is  not  strange  therefore  that 
the  pre-Columbian  Chiriquians  should  have 
chosen  to  represent  their  gods,  many  of 
them  at  least,  with  human  attributes. 
In  fact  the  parallelism  between  these 
Chiriquian  deities  and  certain  gods  of  the 
Hindu  pantheon  is  most  suggestive.  I  need 
only  mention  Ganesha,  the  god  of  prudence 
and  policy,  represented  with  human  body 
and  elephant's  head ;  or  some  of  the  many 
incarnations  (avataras)  of  Vishnu,  as:  1) 
Matsya,  part  fish  and  part  man ;  2)  Kurma, 
part  tortoise  and  part  man  ;  3)  Varaha  with 
human  body  and  the  head  of  a  boar.  There 
is  also  Hanuman,  one  of  the  lesser  deities, 
with  a  monkey's  head  on  a  human  body. 
The  evident  esteem  in  which  the  parrot 
was  held,  both  among  the  Chibchas  and 
the  Chiriquians,  as  well  as  the  particular 
type  of  avian  characters  seen  in  the  bird- 
god,  leads  me  to  conclude  that  the  latter 
might  be  given  the  specific  name  of  parrot- 
god  instead.  The  beaks  are  always  parrot- 
like.  Two  of  the  finest  examples  of  what 
we  shall  henceforth  call  the  parrot-god 
were  recently  acquired  by  Mr.  Keith  and 
like  the  two  alligator-gods  in  the  Keith 
collection  form  part  of  the  golden  treasure  of  the  Huacal  de  los  Reyes  in  the 
valley  of  Rio  General,  Costa  Rica,  discovered  some  three  years  ago,  and 

1  Bulletin  Amer.  ethnol.  soc.,  I,  12,  1860-'61. 

2  Edward  Moor.    The  Hindu  pantheon,  Pis.  1,  48,  53,  54,  1810. 


Fig.  370. — Gold 
collection.     '/' 


figure    of  the    parrot-god.      Heye 


Fig.  371.— Gold 
collection.     V" 


figure    of   the    parrot-god.      Heye 


METAL. 


219 


almost  rivaling  in  richness  the  Chiriquian  huacal  of  Bugavita.  These  two  parrot- 
gods  are  similar  except  as  to  details.  The  body  and  legs  are  human.  The  head 
and  the  forked  wings  that  replace  the  human  arms  are  the  only  avian  characters. 
The  figures  are  strengthened  by  the  characteristic  flattened  bars  at  the  head  and 
feet,  to  which  and  to  the  bars  are  attached  conventionalized  alligator  heads.  The 
eyes  are  large  and  projecting.  Each  image  is  supplied  with  knee-  and  loin-bands. 
A  number  of  differences  are  to  be  noted.  In  figure  372,  the  eyes  are  bell-shaped, 
hollow,  slit  and  provided  with  pellets  ;  and  a  small  reptile  is  held  in  the  beak. 
The  alligator  heads  are  made  of  wires.  The  image  reproduced  in  figure  373 
holds  a  fish  in  its  beak.  There  is  a  ring  for  suspension  at  the  back  as  well  as 
on  the  beak.  In  both  of  these  examples,  certain  parts,  as  the  wings  and  alligator 
heads,  have  the  appearance  of  being  cast  separately  and  then  attached  to  the 


Fig.  372.— Gold  image  of  the  parrot-god,  with  alli- 
gator motives  at  the  head  and  feet.  Keith  collec- 
tion. V« 


Fig.  373. — Image  of  the  parrot-god  in  gold,  or- 
namented with  alligator  motives  at  the  head 
and  feet.  Keith  collection.  '/• 


central  figure  by  fusion  and  pressure.  On  the  other  hand,  there  are  some  features 
which  can  be  accounted  for  only  by  the  supposition  that  while  the  model  was 
composed  of  a  number  of  parts,  the  gold  figure  itself  was  cast  as  a  whole. 

Frau  Dr.  Alice  Mertens  has  recently  given  to  the  Royal  Ethnographical  Museum, 
Berlin,  a  valuable  series  of  Costa  Rican  gold  ornaments  also  from  the  valley  of 
Rio  General.  Judging  from  the  published  photographic  reproductions,1  one  of 
these  is  a  double  parrot-god,  with  two  complete  human  bodies,  each  having 
two  arms  and  a  single  wing,  the  latter  attached  to  the  distal  shoulder  in  both. 
One  head  is  missing;  the  other  is  that  of  the  parrot.  Another  double  image 
in  the  same  collection  resembles  the  foregoing  in  every  essential  feature  with 
the  possible  exception  of  the  heads,  the  smallness  of  the  half-tone  rendering 
it  impossible  to  determine  whether  they  are  avian.  If  not,  then  we  have  to 

1  Eduard  Seler.  Vorlage  einer  neu  eingegangenen  Sammlung  von  Goldaltertiimern  aus 
Costa  Rica.  Zeitschr.  f.  Ethnol.,  XLI,  463,  1909. 


220  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

do  with  a  mixture  of  three  instead  of  two  forms.  In  this  connection  it  should 
also  be  noted  that  human  attributes  do  not  always  constitute  one  of  the  ele- 
ments in  composite  gold  images.  For  example,  the  wings  and  tail  of  a  bird  are 
sometimes  attached  to  the  head  and  body  of  an  alligator.  One  image  of  this 
type  is  illustrated  by  Liiders,1  who  also  figures  a  deity  with  body  and  tail  of  a 
bird,  human  arms  with  a  rattle  in  each  hand,  and  an  alligator's  head  with  horns 
representing  two  conventionalized  headless  alligators.  Where  the  figure  is  part 
human  I  have  suggested  that  it  be  called  a  god.  Whether  images  composed  of 
two  or  more  animal  forms  can  be  classed  as  gods  is  a  question. 

Representations  of  the  parrot-god  are  confined  neither  to  the  gold  figurines  nor 
to  Chiriqui.  At  Mercedes,  near  the  Atlantic  coast  of  Costa  Rica,  Mr.  Keith  has 
found  a  number  of  stone  slabs  of  various  sizes  resembling  somewhat  the  grave- 
stones in  the  colonial  cemeteries  of  New  England.  Instead  of  being  used  as 
headstones  however  they  are  said  to  be  found  at  the  bottom  of  the  graves. 
They  are  skilfully  carved  out  of  volcanic  rock  and  are  generally  ornamented  with 
figures  in  relief,  or  in  the  round.  Two  of  the  smaller  and  simpler  slabs  are  each 
adorned  with  a  parrot-god.  It  stands  at  the  centre  of  one  end,  with  wings  extended 
outward  and  downward  until  they  touch  the  corners  of  the  slab.  The  entire  figure 
is  thus  in  the  round.  The  body  and  legs  are  human,  to  which  are  added  a  bird's 
head  and  wings.  In  one  instance  the  wings  terminate  in  jaguar  heads.  The 
Central  American  parrot-god  recalls  the  Assyrian  god  of  fecundity,  which  is  re- 
presented as  having  the  head  and  wings  of  an  eagle.2 

Many  of  the  celt-shaped  amulets  from  Las  Guacas,  Nicoya  (Costa  Rica),  des- 
cribed by  Hartman3  as  "anthropomorphic,"  are  also  ornithomorphic,  i.  e.,  have 
mixed  attributes.  These  are  in  all  probability  representations  of  the  same  parrot- 
god  of  which  such  fine  examples  in  gold  have  just  been  noted.  That  the  blade 
of  the  celt  is  also  the  tail  of  a  bird,  there  can  be  no  question.  Hartman  states 
that :  "  Often  the  lower  part  of  the  face,  including  the  nose,  is  represented  enclosed 
by  a  square  incision,  having  its  upper  corner  at  the  root  of  the  nose,  its  opposite 
at  the  apex  of  the  chin."  Now  the  upper  half  of  this  diamond  delineates  either 
the  human  nose  or  the  slanting  lines  that  begin  near  the  base  of  the  nose  and 
extend  past  the  corners  of  the  mouth.  The  lower  half  of  this  diamond  is  some- 
times the  outline  of  the  human  chin  but  is  often  that  of  a  bird's  beak  instead. 
Thus  the  "chin"  which,  according  to  Hartman,  "is  in  numerous  specimens  tri- 
angular, beak-shaped,  prolonged  downwardly  on  the  breast,"  is  in  reality  the 
parrot's  beak.  In  other  words,  the  head  is  both  human  and  avian,  the  figure  as 
a  whole  being  analogous  to  that  executed  in  gold,  the  differences  being  practically 
confined  to  such  as  are  due  to  the  nature  of  the  medium.  Even  the  head-dress  is 
the  same  although  not  so  elaborate.  Instead  of  the  relatively  large  gold  bar 
representing  a  common  animal  body  (usually  that  of  the  alligator)  with  conventional- 
ized heads  at  each  end,  there  is  a  reduction  of  the  whole,  differing  in  degree, 

1  C.  W.  Liiders.      Jahrbuch    der    Hamburgischen    wissenschaftl.    Anstalten,    VI,    Taf.  Ill, 
Abb.  10,  11,  1888. 

2  L'Anthropologie,  XX,  fig.  48,  1909. 

3  Archeol.  researches  on  the  Pacific  coast  of  Costa  Rica.     Mem.  Carnegie  mus.,  Pittsburgh, 
III,  no.  1,  Pis.  XXX1II-XXXV,  XLIV,  1907. 


METAL. 


221 


from  the  two  opposing  heads  brought  close  together  to  two  simple  projections 
resembling  the  ear-tufts.  In  fact  the  two  tufts  characteristic  also  of  parrot  figures 
in  clay  may  be  but  the  highly  conventionalized  symbolic  head-dress  composed  of 
alligator  heads  —  a  supposition  strengthened  by  the  fact  that  these  same  images 
are  decorated  with  alligator  motives  in  color  (see  figs.  248-49).  Hartman  rightly 
construed  the  meaning  of  the  head-dress  on  a  number  of  the  celt-shaped  amulets 
from  Nicoya  as  being  two  alligator  heads  united  by  a  short  common  body.  It 
is  interesting  to  note  that  tiny  anthropomorphic  and  ornithomorphic  celt-shaped 
amulets  of  gold  have  been  found  in  Colombia.  The  Field  Museum,  Chicago, 
possesses  a  number  of  these,  .although  no  single  specimen  that  I  have  seen  com- 
bines both  human  and  avian  characters. 

The  gem  of  the  Heye  collection,  representing  a  creature  part  human  and  part 
jaguar,  presumably  a  jaguar-god,  is  reproduced  in  figure  374.  The  central  feature 
is  the  human  body  surmounted 
by  the  jaguar's  head.  The  hands 
are  replaced  by  jaguar  heads. 
There  is  an  extra  pair  of  arms 
attached  to  the  sides  of  the  body, 
which  also  terminate  in  jaguar 
heads.  Finally,  there  are  bars 
projecting  laterally  from  the  ankles 
that  end  in  jaguar  heads,  the  bars 
themselves  serving  as  bodies  for 
these.  The  loin-band  is  composed 
of  the  bodies  of  two  snakes.  As 
in  the  case  of  the  crab-god,  the 
human  body  is  so  constructed  as 
to  form  a  bell  or  rattle,  the  metal 
ball  within  being  of  about  the  same 
grade  of  alloy  as  the  figure  itself. 
The  entire  group  is  set  in  a  square 
frame  of  plaited  work,  on  the  outer 
margin  of  which  and  at  the  back 
is  attached  a  series  of  spirals.  This 
fine  specimen,  which  was  collec- 
ted by  Mr.  Utley  at  Pueblo  Viejo,  should  be  compared  with  the  jaguar  deity  as 
exemplified  in  Chiriquian  ceramic  art  (see  PI.  XLI,  and  text-fig.  244). 

The  Keith  collection  of  gold  ornaments  includes  a  number  of  jaguar-gods.  The 
one  reproduced  in  figure  375  is  from  the  Huacal  de  los  Reyes,  Rio  General,  Costa 
Rica.  The  bars  at  the  head  and  feet  are  each  altered  by  a  row  of  triangular 
perforations,  while  the  four  alligator  heads  are  so  highly  conventionalized  as  to 
become  simply  curved  extensions  of  the  flattened  bars.  There  is  no  differentiation 
of  jaws,  teeth  and  eyes.  In  fact,  each  bar  with  its  two  curved  extensions  is  a 
multiple  alligator  motive  —  a  common  body  with  a  head  at  each  end,  the  triangular 
perforations  representing  alligator  spines  or  scale  groups.  The  feet  and  hands  of 
this  image  are  represented  by  very  fine  wires.  The  right  foot  had  been  broken 


Fig.  374.  —  Gold    image    presumably   of  the    jaguar-god, 
collection.      '/' 


Heye 


222 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


off  and  afterwards   mended,  as  is  indicated   by   a  carefully  drilled    hole  through 
the  foot  and  another  through  the  bar  directly  underneath.     This  is  the  figurine 

in  the  hollow  head  of  which  the  resin  plug 
is  still  retained ;  it  is  of  special  interest  in 
throwing  light  on  the  process  of  casting.  In 
figure  376,  reproducing  a  jaguar-god  also  from 
Rio  General,  it  is  quite  evident  that  the  bar 
and  its  curved  extensions  represent  the  mul- 
tiple alligator  motive,  each  head  being  dif- 
ferentiated. The  spines  on  the  common  body 
are  placed  ventrally,  as  in  the  preceding 
figure.  The  bar  with  the  alligator  heads  at 
the  feet  is  entirely  wanting  in  this  example, 
which  should  be  compared  with  two  images 
reproduced  by  Liiders.1 

A  third  jaguar-god  in  the  Keith  collection 
(fig.  377)  is  from  Mercedes  on  the  Atlantic 
side  of  Costa  Rica.  The  treatment  is  similar 
to  that  in  the  preceding  figure,  except  that 
a  rattle  resembling  a  dumb-bell  is  held  in 
each  hand  ;  and  instead  of  the  horizontal  bar 
representing  a  body  common  to  the  two  con- 
ventionalized alligator  heads,  the  two  bodies 
are  set  like  horns  in  the  head  of  the  jaguar- 
god.  In  both  figurines  however  the  alligator  motive  is  alike,  in  that  the  spines 
and  scales  are  placed  ventrally  instead  of  dorsally.  In  figure  375,  the  same  result 


Fig.  375. — Gold  image  of  the  jaguar-god,  the 
perforated  bars  at  the  head  and  feet  being 
alligator  motives ;  from  the  Huacal  de  los 
Reyes,  Rio  General,  Costa  Rica.  Keith  col- 
lection. V< 


Fig.  376. — Gold  figurine  representing  the  jaguar-god 
with  an  alligator  motive  serving  as  head-dress  ;  from 
Rio  General,  Costa  Rica.  Keith  collection.  '/• 


Fig.  377-  —  Gold  figure  of  the  jaguar-god,  with 
the  alligator  motive  serving  as  head-dress  ;  from 
Mercedes,  Costa  Rica.  Keith  collection,  '/i 


was  arrived  at  by  means  of  a  row  of  triangular  perforations.     The  three  figures 
taken  together  furnish  the  key  to   the  meaning  of  the  bars  that  form  the  head- 

1  Op.  cit,  Taf.  II,  Abb.  4,  5. 


METAL.  223 

and  foot-piece  to  so  many  Chiriquian  gold  figurines,  this  type  of  setting  for  such 
images  being  in  fact  one  of  the  characteristic  features  of  Chiriquian  art.  These 
bars  are  derived  from,  or  at  least  merge  into  animal  forms  —  two  heads  and  a 
common  body.  A  majority  of  them  represent  the  alligator,  a  rare  exception  to 
this  rule  being  given  in  figure  369,  where  bird  heads  are  employed.  The  bar  in 
that  case  is  presumably  an  avian  body,  common  to  the  two  heads  which  it  con- 
nects. The  present  northern  limit  of  the  use  of  these  flattened  symbolic  bars  at 
the  head  and  feet  of  gold  images  is  Nicaragua,  west  of  the  lakes.  A  good 
example  from  this  region  is  in  the  American  Museum  of  Natural  History.  This 
image,  which  is  small  and  of  low-grade  gold,  resembles  that  reproduced  in 
figure  375.  The  head  however  is  apelike  ;  there  are  loin-  and  knee-bands ;  and 
the  bars  at  the  head  and  one  at  the  feet  are  not  even  perforated.  Similar  gold 
figurines  from  Colombia  are  to  be  seen  in  the  Field  Museum,  Chicago. 

Like  the  parrot-god,  the  jaguar-god  also  occurs  on  the  monumental  stone  slabs 
as  well  as  in  the  form  of  independent  stone  statues,  examples  of  both  having 
been  found  recently  at  Mercedes,  Costa  Rica,  by  Mr.  Keith.  One  of  these  slabs 
is  about  two  meters  high  by  fifty-nine  centimeters  wide  and  ten  centimeters  thick. 
The  front  is  plain.  Resting  on  the  top  is  a  group  of  three  jaguar-gods  carved  in 
the  round.  The  bodies  and  extremities  are  human.  While  the  head  in  each  case 
is  that  of  the  jaguar,  it  is  adorned  with  long  human  hair  reaching  down  to  the 
lumbar  region.  In  addition,  the  larger,  central  figure  wears  a  crown.  The  grouping 
is  admirable.  The  chief  god  rests  on  both  knees  with  arms  extended  and  hands 
on  the  shoulders  of  the  figures  at  the  sides.  These  two  smaller  gods  are  of  equal 
size,  the  one  on  the  right  kneeling  on  the  right  knee  and  that  on  the  left  kneeling 
on  the  left  knee ;  the  group  as  a  whole  is  thus  bilaterally  symmetrical.  The 
two  lateral  margins  at  the  back  of  the  slab  are  decorated  with  eighteen  small 
figures  of  the  jaguar,  nine  on  each  side,  with  heads  all  directed  toward  the  group 
of  jaguar-gods.  Beginning  at  the  upper  corners,  these  jaguar  figures  are  distrib- 
uted at  equal  distances,  the  last  ones  being  situated  at  least  thirty  centimeters 
from  the  foot  of  the  slab. 

Equally  remarkable  is  the  great  stone  statue  representing  the  jaguar-god  and 
found  also  at  Mercedes  by  Mr.  Keith.  It  is  of  stocky  proportions,  with  a  height 
equal  to  that  of  a  short  man.  It  wears  a  cap  or  crown,  cylindrical  ear-plugs  and 
a  sash  carried  over  the  left  shoulder  and  reaching  down  to  the  left  hip.  The 
right  arm  is  missing.  In  the  left  hand  is  held  a  human  head,  the  long  coiled 
hair  of  which  is  brought  up  over  the  right  shoulder,  as  if  to  balance  the  sash  on 
the  left.  This  statue  has  certain  points  in  common  with  one  also  from  Mercedes, 
illustrated  byHartman,1  although  the  head  and  body  of  the  latter  are  both  human. 
The  discovery  of  these  fine  examples  in  stone  of  the  jaguar-god  not  only  serves 
as  a  confirmation  of  my  belief  in  the  existence  of  that  deity  based  on  the  gold  and 
earthenware  specimens  already  described,  but  also  extends  the  boundaries  of  the 
cult  half-way  across  Costa  Rica. 

The  Yale  collection  includes  a  single  rare,  plaque-like  gold  mask  representing 
the  human  face  (fig.  378).  It  is  a  squarish  sheet  of  gold-leaf,  somewhat  thicker 

1  Archaeological  researches  in  Costa  Rica,  PI.  3,  fig.  1,  1901. 


224 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


than  ordinary  tin-foil.  The  margin  is  plain  and  near  each  of  the  four  rounded 
corners  is  a  perforation,  the  puncture  having  been  made  from  the  front ;  one  of 
these  has  been  almost  completely  obliterated  by  a  break,  but  the  traces  of  it  are 
distinct  enough  to  prove  its  existence.  It  is  not  likely  therefore  that  this  piece 
was  worn  as  a  breast  ornament  suspended  from  the  neck,  but  rather  as  a  mask. 
As  it  is  much  too  small  to  cover  an  adult  face,  it  may  have  served  to  cover  the 
face  of  an  idol.  The  human  features  —  eyes,  nose  and  mouth  —  are  slightly 
raised  by  repoussage.  There  are  also  three  elongated  lumps  produced  in  the  same 
way.  One  of  these  is  placed  horizontally  on  the  forehead  and  in  line  with  the 
nose  and  mouth ;  the  other  two  are  paired  and  placed  vertically  under  the  eyes 
and  a  little  above  the  level  of  the  mouth.  They  may  possibly  represent  tattooing. 
A  gold  mask  from  Agua  Caliente,  near  Cartago,  Costa  Rica,  marked  in  almost 
the  same  manner  has  been  figured  by  Uhle  as  belonging  to  the  Troyo  collection 

of  the  National  Museum  at  San  Jose. 
Similar  gold  masks  were  found  by 
Schliemann  on  the  faces  of  the  dead 
in  certain  tombs  of  Mycenae. 

Dr.  George  F.  Kunz 1  describes  a 
somewhat  similar  "  plaque  ornament " 
that  was  found  on  the  banks  of  the 
Mingindo  river,  a  tributary  of  the 
Atrato,  in  the  state  of  Cauca,  United 
States  of  Colombia.  This  however  is 
circular  and  the  mask-like  characters 
are  not  so  pronounced.  There  are  but 
two  perforations,  their  position  being 
in  the  upper  part  between  the  eyes, 
suggesting  that  the  piece  was  used  as 
a  breast  ornament.  It  belongs  to  Mr. 
S.  L.  M.  Barlow,  who  states  that  a 

banker  of  South  America  had  purchased  a  hundred  of  these  shield-shaped  orna- 
ments simply  for  their  bullion  value.  They  were  melted  down,  no  description  of 
them  having  been  kept.  The  same  author2  describes  a  circular  gold  plaque 
(from  a  Florida  mound),  the  surface  of  which  is  decorated  with  raised  work 
resembling  beads  and  pendants.  These  are  near  the  margin,  while  in  the  center 
is  a  circular  raised  portion.  This  piece  is  not  perforated. 

Bollaert  mentions  that  Messrs.  Pixley  and  Company  of  London  allowed  him 
(about  1860)  to  examine  five  of  their  circular  gold  plates  from  Chiriqui.  The 
largest  was  TU  inches  in  diameter  and  had  seven  circular  embossments.  In  des- 
cribing the  voyage  of  Columbus  along  Costa  Rica  and  Veragua,  Irving 3  says  :  "  Here, 
for  the  first  time  on  the  coast,  the  Spaniards  met  with  specimens  of  pure  gold,  the 
natives  wearing  large  plates  of  it  suspended  round  their  necks  by  cotton  cords." 

1  American  antiquarian,  Sept.,  1887. 

2  Op.  cit.,  July,  1887. 

3  Life  and  voyages  of  Christopher  Columbus,  II,  314,  1892. 


Fig.  378. —  Rare  gold  mask  representing  the  human  face.  */> 


METAL. 


225 


There  are  a  number  of  splendid  gold  plaques  in  the  Heye  collection,  the  most 
interesting  being  illustrated  in  figure  379.  It  is  circular  and  made  of  relatively 
thick  sheet  gold.  All  the  repousse  work  on  it  seems  to  have  been  done  from 
the  back.  Near  the  margin  are  two  circles  of  raised  points.  Within  this  field  are 
five  large  embossments,  each  surrounded  by  a  single  row  of  raised  points.  The 
disk  is  supplied  with  two  pairs  of  perforations  for  suspension,  the  outer  pair  having 
been  made  after  a  crack  had  penetrated  to  one  of  the  original  holes.  The  two 
small  holes  near  the  margin  are  the  result  of  mending  the  break.  The  large  emboss- 
ments are  realistic  representations  of  the  female  breast,  even  the  nipple  being 
faithfully  rendered.  A  girl  before  marriage  is  supposed  to  wear  a  plaque  with 


Fig.   379. — Large  gold  plaque  with  five  embossments  representing  the  human 
breast.     Heye  collection.     '/' 


a  single  breast,  while  after  marriage  a  plaque  with  a  pair  of  mammae  may  be 
worn.  Mr.  Heye  has  one  small  piece  of  sheet  gold  with  but  a  single  breast 
design. 

The  Heye  collection  includes  two  other  gold  plaques,  almost  identical  in  size 
with  that  in  the  foregoing  figure.  One  has  two  circles  of  raised  points  about 
the  margin ;  the  other,  which  is  exceedingly  thin,  has  a  circular  indentation  near 
the  margin  but  no  embossments.  Both  are  convex  on  the  front,  while  the  plaque 
with  the  five  mammae  is  perfectly  flat  save  for  the  repousse  work.  The  piece 
reproduced  in  figure  380  also  belongs  to  the  Heye  collection,  and  is  of  special 
interest  because  the  repousse  work  is  not  all  done  from  the  same  side,  it  being 
sunken  except  the  circle  near  the  margin  which  is  raised.  The  central  field  is 
convex. 

MEMOIRS  CONN.  ACAD.,  Vol.  III.  29 


226 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


The  use  of  metal  disks  or  plaques  as  breast  ornaments  was  widespread  in  pre- 
Columbian  times.     They  are  reported  by  Ambrosetti  from  the  Calchaqui  region 

of  Argentina.  A  mummy  found  by  Uhle 
near  Casabindo,  wore  a  copper  disk  on 
its  breast.  The  specimen  is  now  in  the 
Museum  fur  Volkerkunde,  Berlin.  Bollaert 
figures  a  gold  plaque  from  Cuenca,  Ecua- 
dor ;  and  a  half-dozen  from  Angel,  Prov- 
ince of  Carchi,  are  to  be  seen  in  the 
Museum  of  the  University  of  Quito.  Saville 
describes  copper  disks,  also  from  Ecuador, 
each  with  an  embossed  face  in  the  center. 
Specimens  from  the  United  States  of  Co- 
lombia and  from  Florida,  described  by 
Kunz,  have  already  been  noted.  Clarence 
B.  Moore  illustrates  a  copper  plaque  from 
Mt.  Royal,  Florida,  and  points  out  its  re- 
Fig.  380.- Gold  plaque.  Heye  collection.  '/«  semblance  to  those  shown  by  Le  Moyne 

on  king  Outina.     Gold  plaques  have  been 

found  in  various  tombs  of  Mexico,  in  some  cases  on  the  breastbone.  They  are 
the  symbol  of  Tezcatlipoca,  "  shining  mirror,"  and  are  represented  in  the  ancient 
codices  as  worn  on  the  breast  of  the  priests  of  Tezcatlipoca. 


CONCLUSIONS. 

Before  American  archeology  can  become  a  science,  it  must  be  studied  region- 
ally and  intensively.  Each  region  may  be  likened  to  one  of  the  blocks  in  a 
picture  puzzle,  with  this  difference,  that  the  seriousness  of  the  problem  is  due 
more  to  the  loss  and  indistinctness  of  parts  than  to  their  disarrangement.  Not 
only  is  the  picture  on  many  of  the  blocks  indistinct  and  incomplete,  but  often 
whole  blocks  are  missing.  It  behooves  the  archeologist  therefore  to  study  the 
more  minutely  every  existing  fragment  for  clues  that  may  lead  to  the  reconstruc- 
tion of  that  which  has  vanished. 

Chiriqui  as  a  region  for  intensive  study  has  many  points  in  its  favor.  It  lies 
at  the  gateway  of  two  continents,  midway  between  the  classic  fields  of  Mexico 
and  Peru.  That  part  from  which  the  vast  majority  of  antiquities  came  is  of  small 
extent,  bounded  on  the  north  by  a  rugged  mountain  chain  and  on  the  south  by 
the  Pacific  Ocean,  a  veritable  garden  spot,  sloping  gently  from  the  foot-hills  of 
the  Cordilleras  to  the  sea  and  abundantly  watered  by  scores  of  mountain  streams. 
The  soil  is  exceedingly  rich,  capable  of  supporting  a  large  population,  and  the 
climate  is  agreeable  and  healthy.  On  such  a  soil  and  amid  such  an  environment 
a  splendid  civilization  might  well  be  nurtured  and  grow  to  maturity. 

My  reason  for  choosing  Chiriqui  as  a  field  for  intensive  study  is  that  the  most 
important  collection  of  Chiriquian  antiquities  known,  the  one  belonging  to  Yale 
University,  is  in  my  charge.  What  I  know  of  Chiriquian  archeology  has  been 
learned  from  it,  from  other  collections  both  public  and  private,  and  from  libraries. 
What  I  have  gleaned  is  offered  to  students  of  American  archeology  as  a  con- 
tribution that  invites  a  supplement  from  some  one  who  may  be  so  fortunate  as  to 
have  the  time,  inclination  and  opportunity  for  a  personal  investigation  of  this 
region.  It  may  not  yet  be  too  late  to  gather  much  information  regarding  the  various 
types  of  graves,  for  example,  and  the  association  of  artifacts  within  them.  Until 
this  is  done,  our  knowledge  of  the  time  element  and  of  the  various  steps  in  the 
development  of  Chiriquian  culture  must  remain  largely  conjectural. 

In  freely  acknowledging  my  indebtedness  to  previous  writers  on  the  archeology 
of  Chiriqui,  the  chief  among  them  being  Professor  W.  H.  Holmes,  it  is  fitting 
that  I  should  close  with  a  presentation  of  some  of  the  fruits  that  have  ripened 
primarily  in  the  light  of  my  own  researches. 

The  art  products  of  Chiriqui  comprise  implements,  statuettes,  metates,  stools, 
petroglyphs,  sculptured  columns,  amulets  and  ornaments  of  stone ;  pottery  in  the 
form  of  vases,  tripods,  bowls,  cups,  figurines,  whistles,  rattles,  spindle-whorls  and 
stools ;  and  metal  objects  of  gold  and  copper,  alloys  of  these,  and  bronze. 
A  single  shark's  tooth,  perforated  for  suspension,  has  been  noted,  and  one  figurine 
of  rosin. 

Attention  is  called  to  the  general  phylogenetic  trend  in  the  development  of 
Chiriquian  art  as  a  whole.  The  ties  that  bind  the  product  of  the  stone  worker  to 
that  of  the  potter  and  the  artificer  in  metal  are  more  noticeable  between  stone 
and  pottery  on  the  one  hand  and  pottery  and  metal  objects  on  the  other,  than 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

between  stone  on  the  one  hand  and  metal  on  the  other.  It  is  significant  that 
these  ties  binding  together  the  art  in  all  mediums  seem  to  be  centered  in  the 
group  of  unpainted  pottery,  to  which  I  have  given  the  name  armadillo  ware. 

With  the  exception  of  architecture,  the  stone  art  of  Chiriqui  compares  favorably 
with  that  of  Mexico  or  Peru.  The  chipping  and  polishing  of  stone  implements 
was  carried  to  a  high  degree  of  perfection  in  view  of  the  serious  handicap  due 
to  the  apparent  lack  of  flint  and  obsidian,  which  have  been  everywhere  the  chief 
heritage  of  stone-age  culture.  Use  was  made  of  local  stone  almost  exclusively, 
the  choice  of  materials  being  confined  principally  to  those  of  volcanic  origin. 
The  overcoming  of  technical  difficulties  inherent  in  the  raw  materials  is  nowhere 
better  exemplified  than  in  the  series  of  celts,  metates  and  stools.  Jade  ornaments 
are  rare;  the  character  of  the  material  and  the  workmanship  point  to  a  kinship 
with  the  numerous  amulets  of  jade  that  have  been  found  in  Nicoya,  or  at  least 
to  a  common  source  of  jade  supply  located  presumably  somewhere  in  Costa  Rica. 

Fictile  products  form  the  great  bulk  of  Chiriquian  antiquities.  The  major  part 
of  these  are  simply  vessels  in  the  form  of  vases  with  round  bottoms  or  mounted 
as  tripods.  Their  prototype  was  presumably  the  calabash.  Aside  from  this  the 
plant  world  had  practically  no  influence  on  the  elaboration  of  form  and  ornament 
in  clay,  the  plasticity  of  which  is  so  well  calculated  to  stimulate  the  imagination, 
clay  yielding  readily  to  any  form  that  fancy  may  dictate.  These  forms,  whether 
useful  or  ornamental,  present  surfaces  that  invite  further  decoration  by  means 
either  of  engravings  or  painted  designs,  thus  bringing  into  play  the  whole  realm 
of  art,  from  sculpture  in  the  round  and  relief  to  engraving  and  painting. 

Chiriquian  pottery  admits  of  classification  into  :  (1)  Unpainted  ware  and  (2)  painted 
ware,  each  main  division  comprising  a  number  of  subdivisions.  My  reasons  are 
given  for  proposing  several  changes  in  the  nomenclature  of  Holmes.  Instead  of 
the  "terra  cotta"  or  "biscuit"  group  the  name  armadillo  is  recommended  for  the 
great  group  of  unpainted  ware,  and  the  serpent  group  is  substituted  for  the  "  black 
incised "  group.  In  the  division  of  painted  ware,  a  change  of  one  group  name 
is  suggested,  viz.,  fish  group  instead  of  "  tripod "  group.  These  changes  are  all 
in  line  with  Holmes's  choice  of  the  name  "alligator"  for  one  of  the  important 
groups  of  painted  ware.  The  names  of  animal  forms  are  thus  applied  to  four 
groups  instead  of  only  one,  as  was  the  case  in  the  earlier  classification.  The 
changes  therefore  are  justified  by  precedent,  as  well  as  on  the  ground  of  appro- 
priateness and  uniformity,  and  by  the  fact  that  the  ancient  Chiriquian  potter  drew 
his  motives  wholly  from  the  animal  world. 

I  have  given  the  name  of  chocolate  incised  ware  to  a  small  group  not  hitherto 
noted,  with  distinctly  Costa  Rican  affinities.  Some  of  the  larger  groups  admit  of 
further  differentiation ;  for  example,  the  salmon-colored  variety  of  the  armadillo 
ware.  The  handled  group  also  comprises  two  more  or  less  distinct  varieties,  one 
painted  and  the  other  unpainted.  On  the  other  hand,  the  polychrome  ware  and 
the  alligator  ware  have  so  many  points  of  similarity  that  they  might  well  be 
considered  as  varieties  of  one  group,  to  all  of  which  the  name  alligator  applies 
with  equal  fitness.  Alligator  motives  predominate  in  both,  but  those  in  each  group 
are  distinctive  in  character.  This  fact  supported  by  the  presence  of  characters  that 
are  common  to  the  polychrome  ware  alone  —  such  as  the  use  of  an  additional 


CONCLUSIONS.  229 

delineating  color  (purple)  and  the  occurrence  of  the  branching  scroll  —  offers 
sufficient  reason  for  retaining  the  old  name,  although  the  latter  is  liable  to  lead 
to  confusion,  having  already  been  applied  by  other  writers  to  totally  different 
kinds  of  pottery.  In  fact  the  name  polychrome  might  equally  well  denote  any 
class  of  pottery  in  the  decoration  of  which  the  requisite  number  of  colors  were 
employed. 

In  making  animal  motives  a  basis  for  classification,  therefore,  it  must  not  be 
inferred  that  a  motive  derived  from  a  given  animal  is  confined  wholly  to  a  given 
group  of  ware.  While  distinctive  of  the  armadillo  group,  motives  derived  from 
the  armadillo  or  parts  thereof  appear  sparingly  in  other  groups,  serving  as  ties 
that  bind  together  a  series  of  related  groups.  Motives  derived  from  the  armadillo 
are  everywhere  plastic,  presumably  because  they  originated  in  a  class  of  unpainted 
ware  that  depended  on  sculpture  and  relief  for  ornament.  When  transferred  to 
painted  ware,  their  plastic  origin  still  asserted  itself.  The  development  of  a  whole 
series  of  motives  derived  from  the  armadillo  is  first  noted  in  this  work.  This  evolution 
was  accomplished  by  a  process  of  elimination,  by  wholesale  reduction  and  simplifi- 
cation, also  by  the  isolation  of  parts  and  their  use  as  symbolic  or  decorative 
motives  independent  of  the  animal  as  a  whole.  We  have  thus  eye,  foot,  tail  and 
carapace  motives.  These  are  employed  in  series,  either  separately  or  in  com- 
binations, to  produce  highly  original,  significant  and  decorative  patterns  —  such 
as,  for  example,  a  meander  encircling  the  neck  of  a  vase,  composed  of  a  series 
of  tails  or  of  carapace  bands,  with  an  eye  or  a  foot  symbol  filling  each  angular 
space. 

The  alligator  was  also  a  great  favorite  with  the  ancient  Chiriquian  potter. 
Motives  derived  from  it  however  are  executed  in  color  instead  of  in  relief.  They 
characterize  a  group  of  ware  that  depends  on  color  for  ornament  rather  than 
on  sculpture,  and  when  carried  over  into  other  groups  they  appear  consistently 
as  painted  forms,  but  with  an  individuality  somewhat  altered  by  the  technique 
of  the  group  of  ware  in  question  (see  figs.  381-384). 

Realistic  painted  representations  of  the  alligator  are  in  profile.  By  this  means,  the 
peculiarities  of  its  anatomy  and  pose  are  easily  indicated.  A  number  of  processes 
set  in  action  lead  to  conventionalism.  Sorrfe  of  these  are :  (1)  The  reduplication, 
exaggeration,  elimination,  or  fusion  of  parts  or  units ;  (2)  transposition,  shifting  and 
substitution ;  (3)  isolation  of  parts  and  their  use  independently  of  the  whole ;  (4) 
wholesale  reduction  and  simplification,  and  (5)  adaptation  to  fit  a  given  space.  The 
profile  figure  is  eventually  reduced  to  a  mere  body-line  with  a  spot  in  the  hollow 
of  the  dorsal  curve  to  represent  scales  and  spines  on  the  animal's  back.  This 
becomes  a  decorative  motive  and  when  repeated  in  a  series  forms  a  pleasing 
pattern.  Groups  of  two,  one  of  them  being  inverted,  form  a  unit  of  the  sigmoid 
scroll.  A  number  of  these  motives  are  often  combined  in  such  a  way  as  to  pro- 
duce the  branching  scroll  that  characterizes  the  ornamentation  of  the  polychrome 
ware.  A  single  profile  motive  reduced  to  its  lowest  terms  would  have  made  a 
very  convenient  hieroglyph  in  a  system  of  writing,  but  there  is  no  evidence  to 
prove  that  it  was  used  as  such.  The  same  can  be  said  of  the  spine  motive  and 
the  scale-group  motive,  both  of  which  become  differentiated  from  the  profile 
motive. 


230 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Another  favorite  alligator  motive  is  that  derived  from  the  dorsal  view  and 
frequently  employed  as  a  panel  decoration.  The  rows  of  spines  and  scales  on 
the  back  of  the  alligator  are  represented  by  a  number  of  parallel  lines,  the  outer 


Fig.  381. — Dorsal-view  (alligator)  motives  from  vases  of  the  lost  color  ware. 


ones  alone  bearing  spine,  scale,  or  scale-group  symbols,  and  these  only  along 
their  outer  margins.  This  motive  is  common  not  only  to  the  alligator  ware  but 
is  also  frequently  met  with  in  the  lost  color  group,  where  its  appear- 
ance is  somewhat  altered  on  account  of  the  lost  color  technique. 
A  comparison  of  figures  381  and  383  discloses  these  differences 
at  a  glance.  Figure  382  is  taken  from  a  tripod  vase  of  the  white 
line  group  and  differs  from  the  same  motive  in  both  the  alligator 
and  lost  color  groups.  That  the  profile  motive  also  undergoes  changes 
when  passing  from  the  alligator  group  to  the  polychrome  group,  is 
evident  from  a  comparison  of  figure  384  with  figure  224. 

„  The  ancient  potter  of  Chiriqui  was  master  of  the   brush   in  three 

sal-view  mo-      distinct  systems  of  painting:  (1)  The  usual  method  of  producing  a 
figure  or  pattern  by  the  direct  application  of  one  or  more  deline- 
ware.  ating  colors  —  red,  black,  white,  and  in  one  variety  of  ware,  an  ad- 

ditional color,  purple ;  (2)  the  lost  color  process,  which  was  confined 
to  a  single  rather  large  group  of  ware.  It  consisted  of  tracing  the  design  in  wax 
on  the  ground  color,  the  application  of  a  solid  coat  of  black  over  the  area  to 
be  ornamented,  and  immersing  the  vessel  in  hot  water  which  melted  the  wax, 


Fig.   383.— Dorsal-view  motives  from  vases  of  the  alligator  ware. 

removing  with  it  the  black  from  the  design  and  thus  leaving  the  latter  in  the 
color  of  the  original  ground ;  (3)  Sparing  the  figure  out  of  the  ground,  which  was 
seldom  employed,  occurring  only  in  the  alligator,  and  the  kindred  polychrome 
group.  The  few  examples  of  this  technique  evince  much  skill  and  ingenuity. 


CONCLUSIONS.  231 

Primitive  metallurgy  is  well  exemplified  in  the  art  of  Chiriqui.  It  was  still 
practised  with  presumably  similar  results  at  the  time  of  the  Spanish  conquest. 
The  first  explorers  were  much  impressed  by  the  richness  and  abundance  of  the 
gold  plaques,  figurines,  etc.,  used  by  the  natives  as  amulets  and  ornaments. 
De  Bry  figures  a  group  of  native  metal-workers  in  the  act  of  casting  gold  images. 
The  gold  ornaments  seen  by  Columbus  in  the  Chiriqui  lagoon  were  evidently 
similar  to  those  taken  from  the  graves  during  the  past  half  century.  The  latter 
vary  in  fineness  from  nearly  pure  gold  on  the  one  hand  to  pure  copper  on  the 
other.  A  small  percentage  of  silver  is  present  in  some  specimens.  The  alloys 
often  appear  to  be  natural.  In  some  instances  very  effective  figures  were  produced 
by  slightly  altering  the  natural  shape  of  nuggets  or  masses  of  the  native  metal. 
A  great  majority  of  the  pieces  were  cast,  either  wholly  or  in  part.  Some  appear 
to  have  been  constructed  from  a  number  of  castings  which  were  afterwards  joined 
together.  It  is  probable  however  that  in  some  cases,  at  least,  this  appearance 
is  alone  due  to  the  fact  that  the  model  was  built  up  of  a  number  of  parts,  the 
casting  itself  being  in  reality  a  unit.  Others  were  cast  as  a  unit,  certain  parts 
of  which  —  as  tail,  wings  or  feet  —  being  further  flattened  by  hammering. 


Fig.  384. — Dorsal-view  motives  from  vases  of  the  polychrome  ware. 

The  secret  of  concentrating  the  gold  on  the  surfaces  in  order  to  form  a  layer 
of  brighter  yellow  than  the  interior,  so  well  illustrated  in  specimens  from  the 
graves,  seems  to  have  been  known  also  to  the  natives  with  whom  the  Europeans 
first  came  in  contact,  for  Acosta  says  the  Indians  were  able  to  produce  a  gold 
color  by  rubbing  a  low-grade  alloy  with  the  juice  of  a  plant.  Acosta  probably 
got  his  information  from  Oviedo,  the  first  inspector  of  "  gold  foundries  " 1  in  the 
New  World,  who  refers  to  the  same  process. 

As  a  vehicle  of  mythological  and  artistic  expression,  the  gold  images  of  Chiriqui 
are  a  worthy  rival  of  the  splendid  series  of  pottery.  The  forms  represented  are 
from  the  animal  world,  more  or  less  faithful  representations  of  the  bird,  frog, 
jaguar,  alligator,  monkey  and  man  being  frequently  met  with. 

The  majority  however  are  composite  in  character,  possessing  attributes  of  various 
animals,  and  are  generally  described  by  earlier  writers  as  monsters.  My  endeavor 
to  unravel  the  apparent  tangle  of  mixed  attributes  has,  I  believe,  led  to  the 
identification  of  a  number  of  important  Chiriquian  deities. 

As  might  be  expected,  some  human  attribute  is  common  to  practically  all  such 
divinities.  One  of  the  most  important  of  these  consists  of  a  human  body  and 
extremities  surmounted  by  an  alligator's  head.  In  order  to  emphasize  the  reptilian 
character,  additional  conventionalized  alligators  or  alligator  heads  are  attached  to 
various  parts  of  the  figure  or  of  its  setting.  To  such  an  image  I  have  given  the 

1  Irving.    The  life  and  voyages  of  Christopher  Columbus,  III,  359,  1892. 


232  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

name  alligator-god.  The  conventionalized  alligator  head  is  often  used,  also,  as  a 
decorative  and  symbolic  motive  on  other  figures  than  those  of  the  alligator-god 
I  have  demonstrated  that  the  flattened  horizontal  bars,  with  their  projecting  attach- 
ments, placed  at  the  head  and  feet  of  so  many  Chiriquian  gold  images,  are 
traceable  to  multiple  life  forms — a  common  body  with  a  head  at  each  end  (generally 
the  alligator). 

There  is  likewise  a  mythical  image,  part  human  and  part  bird,  which  I  have 
named  the  parrot-god ;  to  two  other  forms  I  have  given  the  names  jaguar-god  and 
crab-god.  A  number  of  these  deities  are  reproduced  in  earthenware,  one  of  the 
most  interesting  being  the  jaguar-god.  It  should  be  recalled  here  that  the  finest 
example  of  ceramic  decoration  in  the  collection  is  a  painted  figure  of  the  alligator- 
god.  The  gold  images  are  all  supplied  with  one  or  more  rings  for  suspension. 
It  is  worthy  of  note  that  all  human  figurines  and  those  with  human  attributes  are 
so  constructed  as  to  present  the  front  or  ventral  surface  to  view  when  suspended. 
This  is  true  also  of  bird  and  monkey  figurines,  while  the  reverse  is  true  of  those 
representing  all  other  animals,  the  dorsal  view  being  the  one  exposed. 

It  is  still  too  early  to  determine  the  precise  geographical  boundaries  of  Chiriquian 
culture.  That  these  surpassed  the  present  political  boundaries  of  the  province  of 
Chiriqui,  particularly  in  the  direction  of  Costa  Rica,  seems  to  be  an  established 
fact.  Numerous  specimens  of  alligator  ware,  so  characteristic  of  Chiriqui,  have 
been  found  in  the  region  of  Terraba ;  and  fine  examples  of  armadillo  ware,  also 
characteristic  of  Chiriqui,  are  noted  from  Boruca  and  even  as  far  north  as  Mer- 
cedes, where  Mr.  Keith  also  obtained  a  jaguar-god  of  alligator  ware.  The  al- 
ligator motives  so  characteristic  of  certain  classes  of  Chiriquian  pottery  are  found 
on  Costa  Rican  pottery  that  otherwise  bears  little  resemblance  to  Chiriquian  ware. 
Thus  we  find  the  dorsal-view  motive,  the  scale-group  and  the  spine  motives,  as 
well  as  the  sigmoid  scroll  with  a  spot  in  the  hollow  of  each  curve,  the  last  three 
occurring  as  far  north  as  Nicoya.  The  genetic  relationship  between  Chiriquian 
and  Nicoyan  culture  is  further  emphasized  by  the  evident  kinship  of  the  celt- 
shaped  jade  amulets  from  Las  Guacas  to  the  gold  parrot-gods  from  the  valleys 
of  Rio  General  and  Chiriqui  Viejo. 

The  recent  discovery  near  Terraba  and  at  Mercedes  of  gold  images  represent- 
ing the  alligator-  and  jaguar-gods  indicates  that  the  cult  of  those  deities  once 
extended  even  beyond  the  waters  of  the  Gulf  of  Dulce.  Gold  images  in  the 
Chiriquian  technique  occur,  though  rarely,  even  as  far  north  as  Nicaragua.  The 
conventionalized  treatment  of  the  alligator  points  to  a  possible  kinship  between 
Chiriquian  and  Mexican  mythology.  Several  favorite  Chiriquian  totemic  animals 
appear  in  ancient  Mayan  codices.  The  characteristic  jaguar  metates  and  the  two 
prevailing  types  of  stone  stools  have  been  found  in  Costa  Rican  graves.  There 
are  also  many  points  of  resemblance  in  the  graves  themselves. 

Archeological  evidences  of  contact  with  and  influence  by  South  American 
civilization  might  be  even  more  plentiful  were  the  archeology  of  Colombia  and 
Ecuador  as  well-known  as  that  of  Mexico  and  Central  America.  The  lost  color 
process,  one  of  the  characteristic  Chiriquian  methods  of  ceramic  decoration,  has 
been  found  on  ancient  pottery  from  Rio  Bamba,  Ecuador.  Petroglyphs  not  unlike 
those  of  the  piedra  pintal  are  reported  from  Colombia  and  Venezuela  (as  well  as 


CONCLUSIONS.  233 

from  Porto  Rico).  Balboa's  interview  with  Tumaco,  who  molded  a  figure  of  a 
lama  in  clay,  should  be  recalled  here  as  suggesting  Isthmian  intercourse  with  the 
far  south.  Of  the  ties  that  bind  Chiriqui  to  the  southern  continent,  the  strongest 
hitherto  revealed  are  linguistic. 

With  due  allowance  for  the  influences  radiating  from  the  great  civilizations  to 
the  north  and  the  south,  the  results  of  the  present  study  point  to  the  forces  from 
within  rather  than  to  those  from  without,  as  being  the  chief  factors  in  the  devel- 
opment of  Chiriquian  culture,  which  contains  many  elements  of  fundamental 
importance  to  a  complete  history  of  primitive  art. 


MKMUIKS  CONN.  ACAD.,  Vol.  III.  30 


BIBLIOGRAPHY. 

ACOSTA,  JOAQUIN.     Compendio   historico    del    descubrimiento   y    colonizacion   de   la   Nueva 

Granada  en  el  siglo  decimosexto,  segunda  ed.     Bogota,  Colombia,  1901. 
ANDAGOYA,  PASCUAL  DE.     Narrative  of  the  proceedings  of  Pedrarias  Davila  in  the  provinces 

of  Tierra  Firme  or  Castilla  del  Oro,  and  of  the  discovery  of  the  South  Sea  and  the 

coasts  of  Peru  and  Nicaragua;  transl.  and  ed.  by  Clements  R.  Markham.   London,  1865. 
ARBER,  EDWARD  (Editor).     The  first  three   English  books  on  America;   transl.  by  R.  Eden, 

from  the  Latin  of  Peter  Martyr  of  Anghiera.     Birmingham,  1885. 
BATEMAN,  JOHN  F.     Account    of  a  visit   to   the   huacas,   or  ancient  graveyards  of  Chiriqui. 

Bull.  Amer.  ethnol.  soc.,  I,  New  York,  1860-61. 
BERENDT,  C.  H.     Geographical  distribution  of  the  ancient  Central  American  civilization.    Jour. 

Amer.  geogr.  soc.,  VIII,  New  York,  1876. 
Be  ILLAERT,  WILLIAM.    Antiquarian,  ethnological  and  other  researches  in  New  Granada,  Equador, 

Peru  and  Chile,  etc.     London,  1860. 
BRY,  J.  T.  and  J.  I.  DE.     Collectiones  peregrinationum   in   Indiam   orientalem    et   Indiam   oc- 

cidentalem,  part.  VIII.  Francofurti  ad  Moenum,  1599. 
BRINTON,  DANIEL  G.  The  American  race.  Philadelphia,  1901. 
BROWN,  CHARLES  MELVILLE.  Tisingal,  the  lost  mine  of  Panama.  Bull.  Inter,  bur.  Amer.  republics, 

XXX.     Washington,  1910. 

Bull.  Amer.  ethnol.,  soc.  I,  11,  12,  21,  New  York,  1860-61.     (Author's  name  not  given.) 
CALVO,  JOAQUIN  BERNARDO.     Administracion   Soto,  Republica  de  Costa  Rica,  Apuntamientos 

geograficos,  estadisticos  e  historicos.     S.  Jose  de  Costa  Rica,  1886. 
EDEN.  R.     The   first   three   English    books   on   America,   from  the  Latin   of  Peter  Martyr  of 

Anghiera;  ed.  by  Edward  Arber.    Translation.     Birmingham,  1885. 
EVANS,  JOHN.     The  Chiriqui  survey.     New  York  Herald  (daily),  Dec.  8,  1860. 
FEWKES,  J.  WALTER.     Archeological  expedition  to  Arizona   in  1895.     Seventeenth  Ann.  rept, 

Bur.  Amer.  ethnol.,  Pt.  2,  Washington,  1895-96. 

The  Aborigines   of  Porto  Rico  and  neighboring   islands.     Twenty-fifth  ann.   rept, 

Bur.  Amer.  ethnol.,  Washington,  1903-1904. 
FISCHER,  H.     Bericht  iiber  eine  Anzahl  Steinsculpturen  aus  Costarica.     Abh.  herausgegeben 

vom  naturwissenschaftl.  Vereine  zu  Bremen,  VII,  1882. 
FLOWER  and  LYDEK.KER.  An  introduction  to  the  study  of  mammals  living  and  extinct. 

London,  1891. 
GABB,  WM.  M.     On  the  Indian  tribes  and  languages  of  Costa  Rica.     Proc.  Amer.  philos.  soc., 

XIV,  Philadelphia,  1875. 
GAGE,  THOMAS.    The  English- American,  his  travail  by  sea  and  land:  or,  a  new  Survey  of  the 

West-India's,  containing  a  journall  of  three  thousand  and  three  hundred  miles  within 

the  main  land  of  America.     London  (R.  Cotes),  1648. 
GOODYEAR,  WM.  H.     Grammar  of  the  lotus.     London,  1891. 
GUNTHER,  ALBERT  C.  L.  G.     Reptilia  and  Batrachia.     Biologia  Centrali-Americana,  London, 

1885-1902. 
HAKLUYT,  RICHARD.     The    principal    navigations,    voyages,    traffiques    &    discoveries   of  the 

English  nation,  etc.,  X.     Reprint  of  2nd.  ed.,  Glasgow,  1904. 
HARTMAN,  C.  V.     Archaeological  researches  in  Costa  Rica.     Stockholm,  1901. 

Die  Baumkalabasse   im  tropischen  Amerika.     Boas  anniversary  volume.     New  era 

printing  company,  Lancaster,  Pa.,  1906. 


236  A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 

Archeological    researches    on    the    Pacific    coast    of  Costa   Rica.      Mem.    Carnegie 

museum,  III.  No.  1,  Pittsburgh,  1907. 
Hist,   mag.,  IV,  47,  48,   144,   1860;  VI,  154,   1862;  IX,   158,    1865,  Boston.      (Author's    name 

not  given.) 
HOLMES,  W.  H.     Origin  and  development  of  form  and  ornament  in  ceramic  art.     Fourth  ann. 

rept.  Bur.  of  ethnol.,  Washington,  1882—83.     (Name  changed  to  Bureau  of  American 

ethnology  with  sixteenth  annual  report.) 

Ancient  art  of  the  province  of  Chiriqui.     Sixth  ann.  rept.,  Bur.  of  ethnol.,  Washington, 

1884-85. 

Aboriginal  pottery  of  the   eastern    United   States.     Twentieth  annual  report.,  Bur. 

Amer.  ethnol.,  Washington,  1898-99. 
HRDLICKA,  ALES.     Personal  letter,  dated  Oct.  4,  1906. 
IRVING,  WASHINGTON.     The  life  and  voyages  of  Christopher  Columbus  and  the  voyages  and 

discoveries  of  the  Companions  of  Columbus.     New  York,  1892. 
KUNZ,  GEORGE  F.     Gold  ornaments  from  United  States  of  Colombia.     American  antiquarian, 

Sept.  1887. 
LUDERS,  C.  W.     Der  grofie  Goldfund   in  Chiriqui  im  Jahre  1859.     Jahrbuch   der  Hamburg- 

ischen  wissenschaftl.  Anstalten,  VI,  Hamburg,  1888. 
LYDEKKER  (and  FLOWER).     An   introduction    to    the    study    of   Mammals    living    and    extinct. 

London,  1891. 
MAHOUDEAU,  P.  G.    Sur  un  crane  precolombien  de  la  province  du  Chiriqui  (Etats-Unis  de 

Colombie).     Bull.  Soc.  d'anthr.  de  Paris,  4e  ser.,  I,  Paris.  1890. 
MARKHAM,  CLEMENTS  R.     Narrative  of  the  proceedings  of  Pedrarias  Davila  in  the  provinces 

of  Tierra  Firme  or  Castilla  del  Oro,  and  of  the  discovery  of  the  South  Sea  and  the 

coast  of  Peru  and  Nicaragua;  by  Pascual  de  Andagoya.     Translation.    London,  1865. 
MARSH,  O.  C.     Yale  alumni  weekly,  VII,  Jan.  20,  1898. 
MARTENS,  E.  VON.     Purpur-Farberei  in  Central-Amerika.     Verhandl.  Berliner  Ges.  fur  Anthr., 

Ethnol.,  und  Urgeschichte,  Berlin,  1898. 
MEAGHER,  Thomas   F.     The   new   route   through   Chiriqui.     Harper's    magazine    XXII,    New 

York,  1861. 
MENARD,  E.    Les  poteries  des  sepultures  indiennes  du  Chiriqui.    Chez  Pichat  a  Chatillon-sur- 

Seine,  1888. 
MERRITT,  J.  KING.     Report  on  the  huacals,  or  ancient  graveyards  of  Chiriqui.     Publ.  by  the 

Amer.  ethnol.  soc.  (New  York)  previous  to  vol.  I  of  its  Bulletins. 
MOOR,  EDWARD.     The  Hindu  pantheon.     London,  1810. 
MORTILLET,  GABRIEL  DE.     Materiaux  pour  1'histoire  primitive  et  philosophique  de  1'homme, 

IV,  65,  1868. 
NUTTALL,  ZELIA.     A  curious  survival  in  Mexico  of  the  use  of  the  Purpura  shell-fish  for  dyeing. 

Putnam  anniversary  volume,  New-York,  1909. 
OTIS,  F.  M.     The  new  gold  discoveries  on  the  Isthmus  of  Panama.    Harper's  Weekly,  Aug.  6th, 

New  York,  1859. 
OVIEDO  Y  VALDES,  GONZALO  FERNANDEZ  DE.     Historia  general  y  natural  de   las   Indias,    islas 

y  Tierra-Firme  del  mar  oceano.     Madrid,  1855. 

The   first  three    English   books   on  America   (from   the   Latin   of  Peter   Martyr   of 

Anghiera) ;  ed.  by  Edward  Arber.     Birmingham,  1885. 
PINART,  A.  L.     Chiriqui:  Bocas  del  Toro,  Valle  Miranda   (avec  carte  dans  le  texte).     Bull. 

Soc.  de  geogr.  de  Paris,  7=  ser.,  VI,  Paris,  1885. 

Les  indiens  de  1'Etat  de  Panama.     Rev.  d'ethnog.,  VI,  Paris,  1887. 
PUTNAM,  F.  W.     Conventionalism  in  ancient  American  art.     Bull.  Essex  inst,  XVIII,  Salem, 

Mass.,  1886. 


BIBLIOGRAPHY.  237 

RAU,  CHARLES.     Observations  on  cup-shaped  and  other  lapidarian  sculptures  in  the  Old  World 

and  in  America.     U.  S.  geogr.  and  geol.  surv.  of  the  Rocky  Mt.  region,  Contr.  to 

North  Amer.  ethnol.,  V,  Washington,  1881. 
RECLUS,  ARMAND.     Panama  et  Darien.     Paris,  1881. 

RIEGL,  ALOIS.     Stilfragen.     Grundlegungen  zu  einer  Geschichte  der  Ornamentik.     Berlin,  1893. 
SEEMANN,  BERTHOLD.     Narrative  of  the  voyage  of  H.  M.  S.  Herald,  I.     London,  1853. 
SELER,  EDUARD.     Elucidation  of  Codex  Vaticanus  no.  3773  (Codex  Vaticanus  B).     Berlin  and 

London,  1902-03. 

Codex  Borgia,    eine  altmexicanische   bilderschrift  der   Bibliothek   der  Congregatio 

de  propaganda  fide:  hersg.  auf  kosten  seiner  Excellenz  des  Herzogs  von  Loubat. 

Erlauterung.     Berlin,  1904-09. 

Vorlage  einer  neu  eingegangenen  Sammlung  von  Goldaltertiimern  aus  Costa  Rica. 

Zeitschr.  f.  Ethnol.,  XLI,  Berlin,  1909. 

SIMONIN,  L.     La  vie  souterraine  ou  les  mines  et  les  mineurs.     Paris  (L.  Hachette),  1867. 
SIRET,  Louis.     Les  cassiterides  et  1'empire  colonial   des   Pheniciens.     L'anthropologie,   XX, 

Paris,  1909. 
SMITH,  J.  H.     Observations  on  the  territory  of  Burica,  in  the  province  of  Chiriqui,  Isthmus 

of  Panama.    Jour.  Roy.  geogr.  soc.,  XXIV,  London,  1854. 
SQUIER,  E.  G.     More  about  the  gold  discoveries  of  the  Isthmus.     Harper's  weekly,  Aug.  20th., 

New  York,  1859. 

STEMPELL,  W.     Die  Tierbilder  der  Mayahandschriften.     Zeitschr.  f.  Ethnol.,  XL,  Berlin,  1908. 
SUMICHRAST,  F.     Contribution  a  1'histoire  naturelle  du  Mexique.     Bull.  Soc.  zool.  de  France,  V, 

Paris,  1880. 
TAYLOR,  ALFRED  B.     Golden  Relics   from  Chiriqui.     Proc.  Numismatic  and  antiquarian  soc. 

of  Philadelphia,  75-80,  Philadelphia,  1867  (read  in  1865). 
UHLE,  MAX.     Verwandtschaften   und  Wanderungen  der  Tschibtscha.     C.  R.  Congres  intern. 

des  Americanistes,  Berlin,  1888. 

Costaricanische  Schmuckgerate  aus  Gold  und  Kupfer.  Globus,  LX,  Braunschweig,  1891. 
WAFER,  LIONEL.      A    new    voyage    and    description   of  the   Isthmus    of  America,    2nd.    ed. 

London,   1704. 
ZELTNER,  A.  DE.     Note  sur   les   sepultures   indiennes   du    departement  de  Chiriqui  (Etat  de 

Panama).     Panama,  1866. 


INDEX. 


Acoo  river,  53 

Acosta,  Joaquin,  2,  189,  194,  231 

Adze,  22 

Agate,  39,  40,  42;  beads,  39,  40;    pendant, 

39,  40 

Agua  Caliente,  224 
Alanje,  96 
Allen,  J.  A.,  57 
Alligator,  56,  75,  76,  78,  86,  88,  102,  103,  108, 

109,    111,    114,    117,    120,    125,    126-133, 

136-140,  142-145,  151,  153,  155-159,  162, 

166,  178,  179,  198-200,  204,  205,  207,  208, 

213,  214,  216,  220,  223,  228-232 
Alligator  design,   conventionalized,  114,  133 
Alligator  figurine,  204 
Alligator-god,   162,    163,   172,   176,  195,  210, 

213,  214-218,  232 
Alligator  group,  46,  56,  66,  102, 117,  125-152, 

173,212,230 
Alligator  head,  158,  159,  198-200,  207,  208, 

213-216,  218-222,  231,  232 
Alligator  motive,  102,  108,  110,  118,  131,  132, 

135-138,  140,  141,  143-145,  147,  149,  152, 

153,  156,  157,  159,  171-173,  175,  178-181, 

184,  186,  214,  215,  219,  221,  222,  228,  230, 

232 

Alligator  punctnlatus,  125 
Alligator  supports,  86 
Alligator  symbols,  132 
Alligator  vase,  127 
Alligator  ware,  48,82,  109,  117,  129,  133-138, 

142,    143,    165-168,    171-175,    177,    178, 

180-187,  230,  232 
Alloys,  16,  189,  192,  194,  195,  197,  199,  203, 

206,  216,  221,  231;  natural,  231 
Almirante  Bay,  2,  17,  189,  190 
Alston,  Edward  K.,  206 
Altars,  35 

Ambrosetti,  Juan  B.,  226 
America,  34,  163,  189 
America,  natives  of,  197 
American  archeology,  19,  227 
American  ceramics,  45 
American  Ethnological  Society,   36,  38,  44, 

104,  193,  204,  211,  217 


American  Indians,  17 

American  Museum  of  Natural  History,  57,  223 

American  pottery,  45 

American  Zoological  provinces,  56 

Amulets,  39-43,  220,  221, 231 ;  of  jade,  228,  232 

Andesite,  porphyritic,  24 

Andesitic  lava,  23,  24,  27 

Anghiera,  206 

Anguizola,  Don  Antonio,  191 

Animal  heads,  35,  55,  89,  102,  122,  138 

Anteater,  11 

Anthropology,  Paris  School  of,  14 

Anthropomorphic  amulet,  41,  220,  221 

Anthropomorphic  handle  decoration,  70 

Anthropomorphic  shoulder  ornaments,  69 

Antiquarian  and  Numismatic  Society  of  Phila- 
delphia, 193,  215 

Ape,  52,  209 

Apelike  figure,  75  ;  form,  79,  88 ;  head,  223  ; 
monster,  209 ;  supports,  53 

Arched  panels,  106,  107,  112,  113,  117,  120, 
125,  133-135,  138,  139 

Archeology,  American,  19,  227 

Argentina,  226 

Argos,  120 

Armadillo,  51,  52,  54,  56-58,  60,  61,  64-66, 
69-71,  74,  78-80,  82,  100,  103,  124,  125, 
140,  168,  170,  180,  202,  228,  229 

Armadillo  group,  47-71,  88,  103,125,229 

Armadillo  motive,  56—65,  75,  78 ;  everywhere 
plastic,  229 

Armadillo  supports,  58 

Armadillo  ware,  19,  47,  49,  50,  52-55,  58-63, 
65-70,  73-77,  79,  81,  85,  86,  163,  167,  176, 
179,  180,  187,  188,  228 

Armadillo  whistle,  168 

Arrow-points,  21,  22 

Asia,  4 

Assyrian  god,  220 

Ateles,  110 

Atlantic,  8,  17,  60,  190,  220,  222 

Atrato  river,  4,  224 

Ausgespartes  Ornament,  157 

Avataras,  218 

Avila,  Gil  Gonzales  de,  7 


240 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Avila,  Pedro  arias  de  (see  Davila) 

Axe,  39 

Aztec  village,  105 

Azuero,  8 

Bachue,  166 

Bahia  del  Almirante,  2 

Balboa,  Vasco  Nufiez  de,  1,  4-6,  190,  233 

Balza,  170 

Balzaria,  170 

Barlow,  S.  L.  M.,  224 

Basanite,  22,  23,  41 

Bat,  205,  206 

Bateman,  John  F.,  11,  13,  14,  44,  204,  211 

Beads,  39 

Bear,  82 

Belen  river,  4 

Bell,  169,  198,  201,  203,  208,  217,  221 

Berendt,  C.  H.,  17 

Berlin,  Royal  Ethnographical  museum  of,  200, 

219,  226 
Bird,  16,  104, 121,  123, 125, 141,  142,  145-150, 

176,    177,    179,    180,    185,    187,  200,   201, 

206-210,  216-218,  220,  231 
Bird  figurine,  207,  232 
Bird-god,  217,  218 
Bird-whistle,  77,  148,  174,  175 
Biscuit  group,  46,  47,  52,  54,  66,  70,  228 
Biscuit  ware,  19,  47,  48,  56,  65,  69,  172 
Blach  incised  group,  46,  47,  65,  66,  72,  73 
Black  incised  ware,  71,  212 
Blue  feather  snake,  159 
Boar,  218 

Boca  del  Toro,  2,  4,  189 
Bocas  del  Toro  8 
Body-line,  108,  128,  140,  153,  155,  156,  158, 

159,  171,  178,  179,  229 
Body-line  motive,  136 

Body-markings,73,75, 108,153, 156,159, 171,184 
Bogota,  75 
Bollaert,  William,  43,  44,  199,  203-205,  214, 

224,  226 
Boquete,  191 

Boqueron,  district  of,  192 
Boruca,  8,  17,  60,  232 
Borisques,  14 
Bottle,  110 
Brinton,  D.  G.,  15 
British  Museum,  193,  201,  209,  214 
Bronze,  197,  227 


Bronze  tweezers,  197 

Brown,  Charles  Melville,  190 

Brugiere,  160 

Bruncas,  17 

Bry,  J.  T.  and  J.  I,  de,  196,  197,  231 

Bugaba,  8,  10,  13,  14,  17,  36,  190,  191 

Bugavita,  8,  13,  14,  21,  33,  37,  49,  50-53,  55, 
91,  102,  103,  117,  119,  122,  129,  134-136, 
192,  193,  218;  discoveries  of  gold  images 
at  192 

Bugavita  cemetery,  size  of,  192 

Bugavita  treasure,  193,  201,  205,  216 

Burica,  3,  6,  7,  190 

Burnisher,  194 

Cabassous  centra/is,  57 

Calabash,   16,  49-51,  56,  105,  146,  191,  228 

Calcareous  concretions,  51 

Calchaqui  region,  226 

Caldera,  92,  93,  96,  97,  100 

Caldera  river,  11,  17,  43 

Campanon,  Captain  Francisco,  7,  8 

Canine,  30 

Cano  Island,  160 

Cantaros,  21,  191 

Capuchin  monkey,  110 

Carapace,  57-66,  75.  140,  167,  168,  216  (crus- 
tacean) 

Carapace  meander,  69 

Carapace  motive,  58-64,  70,  77-80,  100,  103, 
124,  140,  180,  229 

Carapace  symbol,  62-64,  72,  74,  75,  77-79,  85 

Careta,  a  cacique,  4 

Cariacus  virginianus,  184 

Cariay,  2 

Cariay  Indians,  3 

Carib,  15 

Cartago,Costa  Rica,  1 90,209,224 ;  province  of,23 

Casabindo,  226 

Castilla  del  Oro,  4,  6,  189,  205 

Castile,  191 

Cateba  river,  3,  4,  189 

Cathartes  aura,  122 

Cat,  tiger,  182 

Cauca,  Colombia,  224 

Cebus,  110. 

Ceiba  tree,  191 

Celts,  21-24,  26,  29,  220,  228 

Cemeteries,  191,  192,  220 

Cemeteries  and  Tombs,  8-14,  46,  192 


INDEX. 


241 


Center,  Mr.,  38 

Central  America,  2,  4,  43,  46,  72,  105,  189, 
202,  220,  232 

Ceramic  art,  19,  22,  51,  57,  75,  109,  206,  210, 
221;  form,  68;  technique,  203;  type,  67 

Cervidae,  202 

Chagres  river,  8,  14 

Chalcedony,  26 

Chalice,  159 

Changuina-Dorasque  stock,  17 

Changuinola  River,  191 

Chapanec  stock,  15 

Charcoal,  146 

Charco  Azul,  190 

Charles  V.,  194 

Cheriqui,  1,  8 

Chiapes,  5,  6,  15,  190 

Chibchas,  15,  17,  166,  218 

Chicago,  Field  museum  of,  221,  223 

Chichimecs,  17 

Chinese  art,  159 

Chircot,  32 

Chiriqui,  1,  2,  3,  6-8,  13,  14,  16,  26,  38,  40, 
42-44,  92,  111,  155,  161,  163,  165,  201, 
204,  205,  212,  218,  220 

Chiriqui,  archeological  possibilities  of,  193; 
as  a  region  of  intensive  study,  227 

Chiriqui,  burying  grounds  of,  192 ;  Commis- 
sion, 191 ;  fictile  products  of,  46 ;  forest 
of,  38;  gold  images  of,  192,  194;  gold 
plate  from,  224  ;  Governor  of,  191 ;  graves, 
21,  103,  193;  huacalsof,  192:  Indians  of, 
27,  29,  190 ;  inhabitants  of,  26,  56 ;  lagoon, 
14,  15,  190,  191,  231;  metates  of,  27; 
Mount,  96,  203 ;  mythology  of,  194;  plains 
of,  17;  province  of,  17,  38,  78,  96,  160, 
190,  191;  volcano  of,  11,  190 

Chiriquian  art  62,  63,  82,  97,  124,  223 ;  cera- 
mic, 22,  46,  51,  57,  75,  109,  221 

Chiriquian  artist,  125,  159,  165,  186;  amulets, 
39;  arrow-points,  22 

Cliiriquian  culture,  boundaries  of,  232 

Chiriquian  deities,  217.  218,  231 ;  frontier,  87  ; 
gold  figurines,  37,  206,  213,  215,  231,  232 ; 
gold  ornaments,  193.  204 ;  goldsmith,  22, 
23,  42,  202,  213  ;  graves,  19,  193 ;  grinding 
stone,  34  ;  metates,  26,  27,  31-33  ;  mytho- 
logy, 212,  216,  232;  petroglyphs,  43,44; 
spear-points,  22  ;  totemic  animals,  232 ; 
waters,  125,  195;  whistles,  182,  183 
MEMOIRS  CONN.  ACAD.,  Vol.  III. 


Chiriquians,  17,  103,  105,  126,  131,  162,  169, 

182,  198,  199 
Chisels,  22,  24 

Chocolate  incised  group  47,  66,  95,  96 
Chocolate  incised  ware,  95,  96,  228 
Cinteotl,  159 
Cipactli,  126,  159 
Cist,  11,  13 
Ciuacouatl,  166 
Classification  of  Chiriquian  pottery,  46,  47, 

228;  revised  classification,  65,  66 
Coaza,  valley  of,  17 
Cobiga  river,  3 
Cobrara  river,  3 
Code,  191 

Codices,  Mayan,  71,  184,  232 
Coibas,  15,  17 
Colombia,  1,  15,  106,  111,  194,  211,  216,  221, 

223,  224,  226,  232 
Colon,  3,  189 

Columbus,  2,  3,  4,  189,  190,  206 
Columbus,  Luis,  3 
Comagre,  4,  5,  6 
Compressed  meander,  107 
Conch,  212 

Conch-shell,  169,  170,  185 
Conque  Persique,  160 

Conventionalism,processesof,  127, 130,131,229, 
Copper,  16,  189-192,  194,  197,  198,  203,  215, 

217,  231 
Copper  bell,   198;   disk,  226 ;    figurine,  197 ; 

needle,  197  ;  ornaments,  189  ;  pellets,  68  ; 

tweezers,  197,  198 
Cora  Indians,  66 
Cordillera,  15,  190,  227 
Cordova,  Francisco  Hermandez  de,  7 
Corredor,  151 
Corregidor,  191 
Corotapa,  hills  of,  191 
Corwing,  D.  M.,  202 
Coronado,  17 

Costa  de  las  Contrastes,  189 
Costa  de  Veragua,  189 
Costa  Rica,  8,  13,  15-17,  23,  26,  27,  29,  35, 

39,  40-42,  60,  61,  73,  87,  92,  96,  111,  141, 

159-161,  189-191,  195,  198,  200,  201,  209, 

211,   215,    216,   218,   220,   221,   223,    224, 

228,  232 
Costa  Rica,  Atlantic  coast  of,  17,  220,  222; 

Pacific  coast  of,  160 

31 


242 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Costa  Rican  graves,  232 ;  highlands,  26,  32 ; 

Indians,  27;  metates,  31,  33;  pottery,  95, 

103,  232 
Cothos,  14 

Crab,  50,  122,  170,  177,  178,  21G,  217 
Crab-god,  204,  216,  217,  221,  232 
Crab  motive,  90,  91 ;  whistle,  178,  181 
Crayfish,  199-201 
Cricamola  river,  191,  192 
Cricket,  gold  figure  of,  204 
Crocodile,  125,  126,  159 
Crocodilus  americanus  yar.  acntus,  126 
Cuba,  4 

Cuenca,  Ecuador,  226 
Cunas,  15,  17 

Cup,  49,  59,  65,  70,  71,  104,  141,  188 
Cup-shaped  markings,  67 
Curridabat  (ancient  pueblo),  75 
Cuttle  fish,  195,  200 

Darien,  Gulf  of,  4,  6,  15,  189 ;  Isthmus  of,  206 

David,  6,  8,  21, 43,  44,  49,  51,  96,  101, 117,  140 

Davila,  Pedrarias,  1,  6,  7 

Davis,  E.  H.,  104 

Deer,  170,  184,  202 

Dezallier  d'Argenville,  Antoine  Joseph  (name 

misspelled  in  text),  160 

Dicotyles,  168  ;  D.  labiatus  168  ;  D.  tajacu,  168 
Diquis  river,  160 
Divala,   21,   43,  49,  50,  54,  67,   72,  95,  101, 

106,  108,  109,  112,  119,  121,  122,  132-136, 

138, 145, 146, 149, 150, 164, 169, 176, 195,21 1 
Dolega,  8,  15,  17 
Dorachos,  43 
Dorasques,  15,  17 
Dordogne,  France,  56 
Dorsal-view  motive,  102,  103,  109,  111,  117, 

118,  120,  132-135,  138,  148,  150,  151,  232 
Dow,  Captain  J.  M.,  36,  217 
Drinking  jars,  191 
Drums,  169,  172 
Drum-whistle,  173,  174,  183 
Dulce,  Gulf  of,  61,  160,  232 
Duck,  170,  176,  177,  204 
Dures,  15 

Eagle,  206,  220 

Earring,  201 

East  India,  2 

Ecuador,  105,  160,  226,  232 


Eden's  translation,  194 

Effigy,  human,  71 

Egypt,  78,  212 

Egyptian  art,  133 ;  civilization,  154 ;  tomb,  157 

Egyptians,  131 

El  Banco,  21,  49,  55,  92-95,  98,  101,  121,  138, 

171,  172,  203 
Elliott,  W.  A.,  205 
El  Volcan,  44 
England,  Bank  of,  193 
Enaguas,  161 
Engle,  Captain  F.,  191 
Escaria,  50,  51,  58,  61,  123,  188 
Escudo  de  Veraguas,  190 
Espinosa,  6,  8 
Estrella,  mines  of,  190 
Estrella,  Rio  de  la,  191 
Ethnographical    museum    of    Berlin,     Royal 

200,  219,  226 

Ethnological   society,   American,    14,  36,  38, 

44,  104,  193,  204,  211,  217 
Europe,  154,  163;  cave-dwellers  of,  165 
European  museum,  193 
Evans,  Sir  John,  23,  191 
Eye  motive,  61,  229 

Eye  ornaments,  63,  101, 109,  111,  113, 122,  123 
Eye  symbols,  61-64,  87,  89 

Faulted  meander,  107,  109,  113,  119 

Feather-snake,  Mexican,  200 

Felts  onca,  142 

felis  pardalis,  142 

Ferdinand,  King,  194 

Fernandez,  15 

Fewkes,  J.  Walter,  29,  44,  84,  167 

Field  Museum,  Chicago,  221,  223 

Fin  motive,  77.  78,  90,  91 

Fish,  54,  73,  81,  82,  85,  86-88,  125,  185,  188, 

201,  202,  207,  208,  210,  212,  216,  218,  219 
Fish  group,  47,  65,  66,  76,  80-87,  89,  228 
Fish  motive,  90;  supports,  55,  73,  81-88 
Fish  ware,  47,  81-91 

Flint,  22,  23,  228 

Flute,  169-171,  210-212 

Florida,  224,  226 

Fonseca,  city  and  river,  7 

Foot  motive,  69,  229 

Foot  symbols,  61-64,  69,  85,  91,  204 

F'oot-warmer,  72 

France,  paleolithic  sculpture  of  Dordogne,  56 


INDEX. 


243 


Francesca,  niece  of  Luis  Columbus,  3 

French  Panama  Canal  Company,  14 

Fret,  158,  159 

Frio,  Rio,  15 

Frog,    66-69,    89,    101,    125,    171,    195,   198, 

202-206,  210,  231 ;  ceramic  type  of,  203; 

metallic  type  of,  195,  203 
Froglike  supports,  51,  52 

Gabb,  Wm.  M.,  15,  16,  192 

Gage,  Thomas,  160 

Ganesha,  218 

Gentil,  water-color  drawing  of  piedra  pintal 
by,  43,  44 

Gibert,  Audinet,  201 

Gilt  copper,  194 

Goblet,  53 

God  71  ;  of  Hindu  Pantheon,  218 

Gold,  16,  22,  32,  34,  145,  189,  190-192,  194, 
195,  197-199,  203,  206,  208,  213,  215,  231 

Gold  amulet,  42;  beads,  201 ;  bell,  201,  bird, 
201 ;  eagle,  206  ;  figures,  9,  10, 13, 193,  199, 
207,  208;  figurines,  37,  121,  159,  163,  169, 
192,  193,  202-204,  206,  231 ;  images,  148, 
192^  194,  196,  203-205,  207-209,  215,  223  ; 
masks,  223, 224;  mines,  Tisingal,  190;  mines, 
Veragua,  192;  nugget,  213;  objects,  19, 
194,  201,  208;  ornaments,  12,  16,  43,  82, 
125,  169,  185,  189,  191-193,  197,  201,  204; 
parrot,  42  ;  plaque,  192,  209,  224-226,  231 ; 
plate,  11,  189,  190,  224 

Goldsmith,  22-24, 67, 68, 195, 201, 202,  206, 213 

Golden  ornaments,  12,  16,  49 

Golden  treasure,  190 ;  Huacal  de  los  Reyes, 
218,  221;  Tisingal,  191 

Golfo  de  Salinas,  160 

Goodyear,  Wm.  H.,  133 

Gouge,  22 

Gourd,  16,  49,  50,  169 

Granada,  7 

Graves,  11,  13,  19,  21,  103,  145,  193,  194 

Greece,  branching  scroll  from,  155;  deity 
names  of,  212;  early  human  figurines 
from,  165;  traditions  of,  157 

Greek  mythology,  210 

Greeks,  purple  of  ancient,  160 

Grinding  stone,  33,  34 

Ground-squirrel,  170,  181 

Guaiga  river,  3 

Guacal,  191 


Gualaca,  21,  24,  27,  93,  94,  101,  152;  pitcher 

from,  153 

Guanacosta,  160,  161 
Guanaja,  island  of,  2,  189 
Guana  vano,  190 
Guanin,  2,  3,  189 
Guatemala,  106,  160 
Guatusos,  15 

Guaymis,  15-17,  169,  170,  173,  191,  192 
Guerra,  Ignacio  (creole  farmer),  192 
Guetares,  15 ;  culture  of,  26 
Guiana,  111;  Indians  of,  196 
Guilloche  ornament,  32,  35;  pattern,  .31,  32, 

35,  159 

Gulf  of  Darien,  4,  6,  15,  189 
Gulf  of  Dulce,  61,  160,  232 
Gulf  of  San  Lucar,  6,  7 

Haiti,  4 

Hamburg  Museum,  193 

Hammond  metallurgical  Laboratory  of  Yale 

University,  194 
Handled  group,  47,  48,   78,   80,   81,   86,   92, 

167,  228 ;  painted,  46-48,  56,  66,  74-80 ; 

tripod  variety  of,  48;   unpainted,  47,   66, 

72-74,  81 

Handled  ware,  47,  71,  74,  76-81,  84,  91 
Handles,    55,   63-65,   69-72,    74-85,   87-89, 

91-93,  96,  97,  99-101,  108,  112,  119,  121, 

124,  137,  140,  152 

Hanuman,  a  lesser  Hindu  deity,  218 
Harpers  Weekly,  201,  205 
Hartman,  C.  V.,  13,  23,  26,  32,  33,  39-42,  92, 

105,  106,  146,  159,  160,  220,  221,  223 
Harvard   University,    Peabody    museum    of, 

151,  152,  154 
Hatchets,  11,  22,  25 
Hawaii,  106 
Hawk,  85,  89 
Head  motive,  124 
Head  symbols,  124 

Heads,   grotesque,   53;  removable,    147—149 
Heidelberg,  19 
Hernandez,  Melchor,  14 
Herring-bone  pattern,  158 
Heyde,  Father,  44 

Heye,  George  G.,  32,  193,  201,  204,  229 
Heye  collection,  33,  36,   37,   201,   202,   204, 

207-209,    211,    214,    215,    217,    218,   221, 

225 


244 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Hieroglyphics,  43,  44,  102,  103,  229 

Hindu  Pantheon,  god  of,  218 

History,  1-8 

Holmes,  William  H.,  19,  26,  27,  35,  36,  38,  43, 
45-48,  65,  66,  71,  72,  76,  83,  86,  95-97,  99, 
100,  103,  105,  125,  126,  129,  141,  144,  151, 
155-159,  164,  172,  183,  198-200,  209,  212, 
213,  227,  228 

Honduras,  2,  189 

Hornfels,  23 

Hornstone,  41 

Horobaros,  191 

Horus,  165,  166 

Howland,  Meredith,  202 

Hrdlicka,  Ales,  66 

Huacal  de  los  Reyes,  214,  218,  221 

Huacals,  8-11,  16,  145,  169,  191-193 

Huacas,  9-11,  16,  26,  46 

Huista,  province  of,  6 

Human  attributes,  186;  body,  121,  198,  199; 
bones,  14,  194;  effigy,  71;  figure,  55,  67, 
70,  98,  120,  142,  213,  216;  figurine,  147, 
165-167,  205,  211,  212,  232;  form,  36, 
52,  55,  67,  70,  78-80,  86,  89,  90,  97,  120, 
208;  hair,  14;  head,  35,  69,  70,  187,  188; 
remains,  14;  skull,  14;  supports,  87,  89, 
90,  97,  98 

Hurtado,  Captain  Benito,  7 

Husita,  island,  of,  2 

lea,  185 

Idols,  35 

Iguana,  170,  179 

Images,  21,  36-39,  196,  203,  206,  208 

Imperial  museum  of  Natural  History,  Vienna, 
218 

Implements,  19,  22-25,  34 

Incas,  6 

Incised  areas,  78 ;  band,  88,  89,  97 ;  design 
32 ;  group,  72,  95 ;  lines,  27,  72-74,  85-87, 
95,  96,  99 :  motive,  75 ;  ornament,  38,  76, 
95;  pattern,  29,  32,  72,  79,  81,  86,  96,  98 

Indian  Ocean,  160 

Indiana,  34 

Indians,  160,  189,  191,  206;  American,  17; 
Chiriqui,  27,  29,  190;  Cora,  66;  Costa 
Rica,  27;  Guiana,  196;  Isthmian,  15;  Pa- 
nama, 48 ;  Santa  Marta,  194 ;  Talamanca, 
27;  Terrora,  190;  Tlingit,  211 

Instruments,  musical,  11,  177-188 


Iron,  191 

Irving,  Washington,  5,  224 

Isis,  165,  166 

Isthmus,  1,  4-6,  8,  14,  15,  57,   190,   193,  206; 

fauna  of,  168 
Isthmian    Indians,    15;    gold    figurines,    193; 

provinces,  art  of,  17;  region,  189 
Italian  paintings,  56 
Italy,  157 
Izalco,  Salvador,  105,  146 

Jacu,  21,  67,  138,  141,  167,  174 

Jade,  40—42 ;   celt-shaped    amulets   of,   232 ; 

ornaments,  228;  supply,  228 
Jaguar,   26,   27,  29-33,  35,  82,  89,    140-142, 

144,  182-184,  186,  204,  205,  208,  209,  223, 

231 

Jaguar-god,  82,  141,  143,  221-223,  232 
Jaguar  metate,  30,  31,  33 
Jaguar- whistle  83,  184 
Jamaica,  173 

Jasper,  22 ;  bead,  39,  40 ;  polishing  stone,  26 
Java,  106 

Keith,  Minor  C.,   36,   60,   141,  195,  198,  208, 

211,  218,  220,  223,  232 
Keith   collection,    16,    29,    35,    87,   106,   161, 

200,  209,  214,  218,  219,  221,  222 
Keller,  Ferdinand,  163 
Kluge,  J.  P.,  14 

Kunz,  George  F.,  195,  224,  226 
Kurma,  incarnation  of  Vishnu,  218 

Labret,  112,  201 

Labret  ornament,  112,  122 

Labret-shaped  figure,  115;  motive,  114 

Lama,  53,  233 

Lamarck,  160 

Lamson,  Edwin,  28,  29,  127 

Lamson,  William  J.,  198 

Lamson  Brothers,  41 

Lamson  collection,  41-43,  166,  171,  195,  198, 

211 

Las  Brenas,  190 
Las  Casitas,  33 
Las  Guacas,  Nicoya,  26,  33,  39,  41,42,  220; 

celt-shaped  jade  amulets  from,  232 ;  met- 

ates  from,  159 
Lava,  andesitic,  23,  24,  27 
Le  Moyne,  Jacques,  226 


INDEX. 


Lenox,  James,  205 

Lenox  Library,  New  York,  193,  205 

Leon,  the  city  of,  7 

Life  form,  64,  66,  74,  75,  78-80,  86,  87,  89, 

91,  102,  109-112,  124,  125,  136,  138,  139, 

141,  208;  motive,  81,  104,  110;  symbols, 

74,  75 
Linen,  160 
Lizard,  70,  101 
Loin-cloth,  53,  163,  213 
Lost  color  group,  46,  56,  66,  73,  75,  76,  102, 

103-120,  122-125,  150,  151,  212,  230 
Lost  color  process,  104,  122,  124, 125,  230, 232 
Lost  color  technique,  230 
Lost  color  ware,  80,  104,  106,  110,  111,  113- 

116,  118-121,  128,  134,  151,  161,  164,  169 
Lotus,  78,  154 
Luders,  C.  W.,   192,  199,  201,  205,  220,  222 

Macanas,  2 

Macaw,  206 

Machete,  16 

Macuilxochitl-Xochipilli,  166 

Madrid,  Museum  of,  193 

Magnesia,  oxide  of,  146 

Man,  35,  36,  52,   75,  89,   170,  185,  204,  208, 

212,  216-218 
Mantas,  49 

Maroon  group,  46,  66,  97,  100,  101 
Maroon  ware,  100,  101 
Marsh,  Othniel  C.,  19,  26,  38 
Martens,    E.    von    (name    misspelled   in   the 

text),  160 
Martyr,  Peter,  206 
Masks,  gold,  223,  224 
Mathewson,  C.  H.,  194 
Matsya,  an  incarnation  of  Vishnu,  218 
Mayan    codices,    71,    184,    232;    mythology, 

182,  184;  picture  writing,  66 
Mazatlan,  57 

McNielJ.  A.,  12-14, 19, 21, 26, 43,51,96, 145, 150 
McNiel  collection,  41 
Meagher,  Thomas  F.,  8,  192 
Mealing  plate,  31 ;  stones,  21,  26-30,  38 
Meander,  107-109,  113,  118,  119 
Mediterranean,  160 
Menard,  E.,  14 
Mercedes,  16,  17,  29,  35,  36,  60,  106,  141,  161, 

208,  209,  211,  220,  222,  223,  232 
Meredith  Howland  collection,  203,  211 


Merritt,  J.  King,  8, 11,  13, 14,  21,  22, 26, 192, 193 

Mertens,  Frau  Alice,  200,  219 

Metal,  19,  68,  189-226 

Metal  figurine,  199 ;  frog,  68,  201 ;  instru- 
ments, 95;  objects,  193,  197;  pellet,  198, 
200;  technique,  23,  67 

Metallurgy,  231 

Metates,  16,  19,  21,  26-35,  159,  167,  227,  228 

Metropolitan  Museum,  200-204,  211 

Mexico,  15,  17,  30,  43,  212,  161,  163,  189,  201, 
212,  226-228 

Mexican  antiquities,  201;  deities,  159;  feather- 
snake,  200;  god,  183;  Indians,  66 ;  inter- 
preter, 1 7 ;  picture  writing,  126;  table-land,57 

Mineral  de  Veraguas,  190 

Mines  of  Estrella,  190 ;  Tisingal,  190 ;  Veragua, 
192 

Mingindo  river,  224 

Minorca,  fishermen  of,  160 

Miravalles,  Costa  Rica,  40,  41 

Mississippi  valley,  scroll  ornament  in,  154 

Model,  resin,  195;  wax,  195 

Molar  teeth,  human,  14 

Monkey,  35,  36,  52,  75,  89,  91,  110,  122,  162, 
170,  185,  208-210.  218,  231 

Monkey  heads,  62 ;  figurines,  232 

Monster,  82,  186,  231 

Monuments,  stone,  43 

Moore,  Clarence  B.,  226 

Mortar,  16,  35,  36 

Mortillet,  Gabriel  de,  34,  45 

Mosquito  coast,  2 

Mt.  Chiriqui,  96,  203 

Mt.  Royal,  Florida,  226 

Moves,  dialect,  15 

Multiple  motive,  156 

Munoz,  Captain,  191 

Muois  dialect,  15 

Murex  brandarius\Jm\\e,  lQO;M.(runcu/us,i60 

Museum,  British,  193,  201,  209,  214;  Field 
Chicago,  221,  223;  European,  193;  Ham- 
burg, 193;  American,  Natural  History,  57, 
223 ;  Imperial  Natural  History,  Vienna,  218; 
Madrid,  193;  Metropolitan,  200-204,  211; 
Peabody,  of  Harvard  University,  151,  152, 
154;  Royal  Ethnographical,  Berlin,  200, 
219,  226;  San  Jose,  209,  216.  224;  U.S. 
National,  22, 100, 151, 156, 160;  University, 
of  Quito,  226;  Yale,  22,  160 

Musical  instruments,  11,  165,  169,  177-188 


246 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Mycenae,  224 
Mycetes,  110 

Mythology.  Chiriquian,  212,  216,  232,  Greek, 
210,  Mayan,  182,  184;  Mexican,  232 

Nahuatl,  15 

National  Museum,  (U.S.),  22,  100,  151,  156, 
160;  of  San  Jose,  209,  216,  224 

Needle,  197 

Needle-cases,  104,  124,  164 

Nelson,  William,  14 

Neolithic  period,  45 

Nequen,   a  coarse  net  for  catching  swine,  7 

New  Andalusia,  4 

New  England,  cemeteries  of,  220 

New  Granada,  1,  15,  141 

New  York,  32,  193,  200-202,  204,  205 

Nicaragua,  2,  6,  7,  15,  189,  223,  232 

Nicaraguan  pottery,  174 

Nicoya,  17,  26,  42,  43,  159,  160,  220,  221, 
228,  232 ;  peninsula  of,  26 ;  province  of,  27. 

Nicoyan  amulets,  39 ;  culture,  232 ;  grinding 
stone,  33 ;  type  of  metate,  27 

Nicuesa,  Diego  de,  1,  4 

Nisca,  7 

Nombre  de  Dios,  4 

North  America,  15 

Northumbrian  petroglyphs,  43 

Numi,  16 

Numismatic  and  antiquarian  Society  of  Phila- 
delphia, 215 

Nufiez,  Vasco  (see  Balboa) 

Nuttall,  Zelia,  161 

Nyctipilhecus,  110 

Obaldia,  Senor,  141 

Obsidian,  23,  228 

Ocarina,  170 

Ocelots,  35 

Ohio,  34 

Ornithomorphic    amulet,    41,    42,    220,    221; 

character,  145;  vessel,  146 
Oro,  Castilla  del,  4,  6,  189,  205 
Orosi,  Costa  Rica,  92 
Orotiftans,  15 
Otis,  F.  M.,  192,  193 
Outina,  226 
Oviedo  y  Valdes,  Gonzalo  Fernandez  de,  1, 

7,  8,  43,  194,  231 
Owl,  87-89,  148,  170 


Owl  supports,  87 
Owl-like  heads,  62 

Pachacamac,  tomb  at,  197 

Pacific  Coast,  17 

Pacific  Ocean,  4,  5,  6,  8,  227 

Painted  Handled  group,  76-80 

Painted  Pandled  ware,  74,  77-80 

Painted  stone,  43 

Painting,  systems  of,  157,  230 

Paleolithic  engraving,  56 ,  frescoes,  56  ;  period, 

45 ;  sculpture,  56 
Pan,  god,  210 
Panama,  1,   2,   6-8,   14,   15,   26,  38,  57,  144, 

160,  181,  184,  190,  192,  202,  204 
Panama  Canal,  4,  8;  French  Company,  14 
Panama  Indians,  48 
Panama  Railroad  Company,  38 
Panama  Venus,  38,  162 
Pantheon,  gods  of  Hindu,  218 
Paraguay,  57 
Paris,  19 

Parrot,  148, 170, 173, 174, 194,  206,  218, 219, 221 
Parrot-god,  121,  217-220,  223,  232 
Parrot,  gold,  42 
Partridge,  170,  176 
Paso  Real,  87 
Pasto,  15 
Peabody  Museum  of  Harvard  University,  151, 

152,  154 
Peccary,  168 
Pedrarias  (see  Davila) 
Pellets,50,51,55,68,75,82,85,95,143,l78,182,183, 

219;  calcareous  concretions  as,  51 ;  clay,  51, 

68;  copper,  68;  gold,  201,  207;  metal,  198, 

200 

Peru,  15,  46,  72,  104,  189,  197,  227,  228 
Peruvian  art,   159,    185,  210;  influence,  53; 

skulls,  14;  pottery  figurine,  186 
Pestle,  16,  21,  34,  194 
Petroglyphs,  21,  43,  44,  227,  232;  Colombia, 

44 ;  Northumbrian  and  Scottish,  43 ;  Porto 

Rican,  44 ;  Venezuela,  44 
Phenicians,  purple  of  ancient,  160 
Phidian  age,  56 
Philadelphia,  216 
Philadelphia,    Numismatic    and    Antiquarian 

Society  of,  193,  215 
Phytomorphic  type  53 ;  vessels,  56 
Picture  writing,  Mayan,  66 ;  Mexican,  126 


INDEX. 


247 


Piedra  pintal,  at  Caldera,  43,  44,  232 
Pinart,  Alphonse,  L.,  12,  17,  43,  96,  169,  173, 

191,  192,  194 
Pine  pitch,  146 
Pipa  americana,  66,  67 
Pita,  a  kind  of  thread,  160 
Pitcher,  152,  153 

Pitti,  Victorio  (creole  farmer),  192 
Pittier  de  Fabrega,  H.,  160 
Plaques,  gold,  192,  207,  209,  224 
Plates,  16,  31;  gold;  189,  190 
Platinum,  191 
Point  Barrow,  46 
Polychrome  group,  46,  66,  71,  150,  151-161, 

230 
Polychrome  ware,  76,  109,  151,  152,  159,  161, 

228,  229 

Polishing  stones,  22,  26 
Pompeii,  branching  scroll  from,  155 
Ponca,  4,  5 
Poncra,  6 

Porphyritic  andesite,  24 
Porras,  Diego,  de,  3 
Porto  Bello,  68 
Porto  Rico,  233 
Porto  Rican  petroglyphs,  44 
Potrero,  11 

Pourpre  de  Panama,  160 
Prehistoric  repairing,  167 
Procyon  cancrivorus,  111;  P.  lotor,  111 
Prototype,  67 

Public  Library  of  New  York,  204 
Pueblo,  75,  85,  154 
Pueblo  Viejo,  204,  221 
Puerto  de  los  Bastimientos,  3,  4 
Puerto  Bello  (same  as  Porto  Bello),  3,  4 
Puerto  del  Retrete,  3,  189 
Puma,  170 
Punta  Burica,  190 
Purple  industry,  160 
Purpura,    161;    P.   hcemastonia    Linne,    160; 

P.  patula,  160;  P.  per  ska,  160 
Putnam,  F.  W.,  83 

Quaraqua,  5 
Quartzite,  25 
Quetzal,  16 
Quetzalcouatl,  159 
Quibi,  3 
Quiriviri,  2 


Racoon,  111 

Raleigh,  Sir  Walter,  196 

Rattles,  50,  51,  68,  82,  104,  124,  142,  143,  165, 

169,  198,  210-212,  220-222 
Rau,  Charles,  43 
Reclus,  Armand,  126 
Red  line  group,  46,  47,  66,  92-95,  101 
Red  line  ware,  47,  93,  94 
Read,  C.  H.,  193 
Removable  head,   147-149 
Repouse,  225 
Reptiles,  179,  216 
Resin,  195 
Resin  frog,   195 ;   model,   195 ;    plug,  in  the 

head  of  a  gold  figurine,  195,  222 
Reyes,  Huacal  de  los,  214,  218,  221 
Rhodes,  branching  scroll  from,  155 
Ribera,  Don  Perafan  de,  192 
Riegl,  Alois,  155 
Rio  Bamba,  Ecuador,  106,  232 
Rio  Chiriagua,  96 
Rio  Chiriqui  Viejo,  11,  207,  232 
Rio  de  la  Estrella,  191 
Rio  Fonseca,  7 
Rio  Frio,  15 

Rio  General,  195, 198, 200, 209, 214, 218, 221, 222 
Robalo,  17 
Rodent,  187 

Rosette-like  ornamentation,  115,  118 
Royal  Ethnographical  museum  of  Berlin,  200, 

219,  226 

Rubbing  stone,  27,  31,  33 
Ruminant,  184 

Sabaneros  dialect,  15 

Sand,  used  in  casting,  198 

Sandstone,  stool  of,  36 

Salmon  colored  sub-group,  66,  71,  73 

Salvador,  105,  106 

San  Carlos,  38,  140 

San  Jose,  National  Museum,  209,  224 

San  Juan  de  Nicaragua,  2,  189 

San  Lorenzo,  7 

San  Lucar,  Gulf  of,  6,  7 

San  Miguel,  5,  44 

St.  Andres  mountains,  33 

S.  Elena,  160 

Santa  Marta,  Indians  of,  194 

Santiago  de  Veragua,  8,  190 

Santo  Domingo,  29,  167 


248 


A  STUDY  OF  CHIRIQUIAN  ANTIQUITIES. 


Saville,  Marshall  H.,  44,  106,  226 
Scale-group  motive,  126, 127, 131, 134, 146-148, 

229 
Scale-group  symbols,  136,  138,  139,  143,  175, 

216,  221,  230,  232 

Scale  motive,  131,  133,  134,  200,  212 
Scalesymbols,131,133-135,137-139,147,179;230 
Scarified  group,  46,  66,  96-100 
Scarified  ware,  96-99,  164 
Schliemann,  163,  224 
School  of  Anthropology,  Paris,  14 
Scorpion,  170,  178,  179 
Scottish  petroglyphs,  43 
Scroll,  89,  108,  139,  152,  154,  159 ;  branching, 

152,154,  155;   current,  155;  direct,  154; 

reverse,  154,  155 ;  sigmoid,  153-155,  229, 

232;  Vitruvian,  154 
Sculpture,  Phidian  age  of  Greek,  56 
Sculptured  columns,  21,  44,  227 
Sea  shells,  204;  necklaces  of,  43 
Seats,  stone,  29,  35,  36 
Seemann,   Berthold,    14,  43,  44,   48,  57,   68, 

126,  168,  184,  190 
Seler  Eduard,  161,  215 
Serpent  group,  47,  65,  66,  71,  72,  228 
Serpent  motive,  71,  73,  75,  109,  112 
Serpent  ware,  72,  73,  112,  212 
Shark's   tooth,   42,    43 ;   perforated    for   sus- 
pension, 227 
Sheet  gold,  195,  205 
Sikyatki,  ruined  pueblo  of,  84 
Silver,  194,  206,  231 
Simonin,  L.,  22,  23 
Single  handle,  63,  65,  70,  71,  77,  79,  80,  82, 

93,  100,  101,  112,  121,  152 
Skil,  of  Tlingit  hats,  37 
Slip,  47,55,71, 76,77,91-93, 95,104, 118,139,141 
Smith,  J.  H.,  190 
Society,  American  Ethnological,  14,  36,  38, 44, 

104,  193,  204,  211,  217;  Numismatic  and 

Antiquarian,  of  Philadelphia,  193,  215 
Soes,  Don  Roberto,  8,  192 
Sojo,  Don  Diego  de,  190 
Soto,  7 

South  America,  1,  2,  6,  15,  57,  189,  224 
Spear-points,  21,  22 
Spain,  160 

Spaniards,  3,  5-7,  16,  160,  189,  190,  192 
Spanish  America,  4,  8 
Spanish  Conquest,  189,  206,  231 ;  trinkets,  189 


Spindle-whorls,  163,  164,  171,  172 

Spine  motive,  126,  128,  131,  134,  136,  200, 
212,  229,  232 

Spinesymbols,133,135,137, 138,144,147,221,230 

Spool,  112,  122 

Spool-shaped  motive,  114,  115 

Squier,  E.  G.,  3,  193,  197 

Squirrel,  170,  180,  181 

Stamp,  163,  164 

Starfish,  119 

Statues,  38,  223 

Statuettes,  21,  227 

Stearns  Collection,  198 

Stempell,  W.,  184 

Stools,  19,  21,  27-29,  35,  36,  162,  163,  166, 
167,  209,  227,  228;  stone,  19,  34,  36,  89, 
141,  209;  terra  cotta,  89;  tripod  variety 
of,  27;  wooden,  29 

Stone,  19,  21,  32,  34,  43,  208,  212;  grinding, 
33,  34;  hand,  27;  mealing,  21,  26,  27,  29, 
30,  38;  painted,  43;  polishing,  21,  26; 
rubbing,  27,  31,  33 

Stone  amulet,  42;  art,  19,  21,  22;  axes,  21 ; 
carvings,  35;  figurine,  211;  hatchets,  11; 
images,  21,  148;  implements,  19,  21,  22, 
24,  34,  193  ;  metates,  29 ;  monuments,  43  ; 
seats,  29,  35,  36;  slabs,  223;  statues,  38, 
223;  stools,  19,  34,  36,  89,  141,  209 

Stuart  (Robert  L.)  collection,  205 

Sukia,  magicians  employed  by  the  Guaymis,  17 

Sumichrast,  F.,  125 

Summit,  N.  J.,  28,  127,  166,  198 

Surinam  Toad,  66,  67 

Swiss  lake-dwellings,  163 

Syria,  branching  scroll  from,  155 

Tail  symbols,  62,  64 

Tail  motive,  61,  62,  229 

Talamanca  Indians,  27 

Talamancas,  17 

Tapir,  98,  144,  145,  168,  170,  181,  182 

Tapirus  bairdii,  144,  168,  182 ;  T.  dowii,  182 

Tain  novemcitictum,  57 ;  T.  Iricinclum,  57 

Taylor,  Alfred  B.,  193,  215 

Taylor,  C.  E.,  96 

Tea-caddy,  vase  in  shape  of,  117 

Teaochan,  6 

Tehuantepec,  161 

Tepeyollotli,  183 

Terraba,  8,  17,  60,  195,  214,  232 


INDEX. 


249 


Terra  Cotta  group,  46,  47,  54,  66 ;  stools,  89 
Terra  Cotta  ware,  19,  46,  56 
Terra  del  Fuego,  46 
Terrora,  Indians  of,  190 
Texas,  57 

TezcatHpoca,  priests  of,  symbol  of,  226 
Thevenet,  J.  22 
Tiger,  204 
Tiger  cat,  182 
Tin,  197 

Tiribi,   16;  chief  of,  192 
Tisingal,  190,  191 
Tinten-fisch,  200 
Tlingit  hats,  37;  Indians,  211 
Tombs  and  cemeteries,  8—14,  43 
Tonacatecutli,  159 
Tonalamatl,  183 
Tonatiuh,  159 
Tortoise,  218 
Totten,  Mr.,  38 
Touchstone,  22,  23 

Treasure,  of  Bugavita,  192, 193,216;  ofHuacal 
de  los  Reyes,  218,  221 ;   of  Tisingal,  191 
Trefoil  pattern,  123,  124 
Tres  Rios,  73,  95 
Trinidad,  2 

Tripodgroup,  46-48,54,64-66,79-87,89,92,228 
Tripod  ware,  47,  87 
Troy,  163 

Troyo  collection,  224 
Tubanama,  6 
Tufa,  23,  24 
Tuff,  volcanic,  34 
Tumaco,  5,  6,  190,  233 
Tunic,  of  Zapotecan  women,  161 
Tunja,  15 

Tusayan  potters,  84 
Tweezers,  197,  198 

Uhle,  Max,  15,  216,  226 

Ulloa,  Don  Antonio  de,  160,  161 

United  States  National  Museum,  22,  100,  151, 

156,  160 

University  of  Quito,  Museum,  226 
Unpainted  Handled  ware,  74 
Urira  river,  4,  189 
Urn-shaped  vessel,  91 
Utelaes,  15 
Utley,  F.  D.,  33,  204,  221 


Valientes  dialect,  15 

Valle  Miranda,  191,  192 

Vampire,  192,  206 

Vampyrus  spectrum,  206 

Varaha,  incarnation  of  Vishnu,  218 

Venado,  184 

Venezuela,  232 ;  petroglyphs,  44 

Venetian  renaissance  goblet,  53 

Veragua,   3,  4,  8,  189-191,   224;  Costa   de, 

189;  Duke  de,  3;  Francesca  de,  3;  gold 

mines  of,   192 ;  river,   4 ;  Santiago   de,  8 
Veraguas,  3,  43 ;  Governor  of,  190 
Vienna,  Imperial  Museum  of  Natural  History, 

218 

Vishnu,  218 
Vivala,  huacal,  145 
Volcanic  ash,   23,  24,  34;   rock,   metates  of, 

27;  tufa,  23,  24;  tuff,  34 

Wafer,  Lionel,  173 

Warree,  168 

Wax  model,  use  of  in  casting,  195 

White  line  group,  46,  47,  66,  102,  103 

White  line  ware,  102,  103 

Whistles,  104,  120, 124,  148, 151, 169-188,  210 

Wind-instruments,  169,  170,  173 

Wooden  mortar  and  pestle,  16 

Wooden  stools,  29 

Xiuhcouatl,  159 

Xochipilli,  159 

Xochiquetzal,  Mexican  goddess  of  flowers,  166 

Yale,  151-153,  194,  213,  214 

Yale  University  collection,  19,  22,38,47,48 
51,  63,  65,  69,  71,  76,  86,  145,  150,  151, 
156,  158,  163,  172,  193,  195,  201,  211,  223 

Yale  Museum,  22,  160 

Zapotecan  women,  161 

Zaribas,  15 

Zeltner,  A.  de,  11,  13,  14,  19,  34,  142,  150, 
155,  157-159,  211 ;  collection,  19,  141,  158 

ZoO morphic  amulet,  42 ;  class,  56 ;  effect,  29, 
64 ;  features,  53 ;  handle,  70 ;  shoulder 
ornaments,  68;  supports,  35,  51,  52;  type, 
27,  53;  unit,  26,  27,  30,  56,  100,  104,  139, 
198;  vessel,  54,  145,  182,  184 

Zunes,  15. 


Plate  II 

Celts  made  of  black  fine-grained  volcanic  tufa.     Page  23. 

Figure  a. — Chipped  celt,  the  only  polished  areas  being  the  facets  forming  the 
edge.  2/3 

Figure  b. — Variant  form  of  celt  with  marked  constriction  in  the  blade.     2/3 

Figure   c. — Celt  with  three  polished  facets  on  each  side.     2/3 

Figure  d. — Large  celt  of  the  pecked  type,  in  which  the  polishing  extends  along 
a  median  line  from  edge  to  pole.  2/3 

Figure  e. — Small  celt  of  the  pecked  type,  only  the  bevels  at  the  edge  being  pol- 
ished. 2/3 

Figure  /. — Typical  celt  with  distinct  demarcation  between  the  pecked  and  the 
polished  facets.  2/3 

Figure  g. — Highly  artistic  celt  with  all  facets  completely  polished.     2/3 

Figure  h. — Celt  in  which  the  chipping  has  not  been  entirely  removed  by  pol- 
ishing. 2/3 

Figure    i. — Variant  form  of  celt  with  long  straight  edge.     2/3 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE 


d 


Plate  III 

Large  fine  jaguar  metates  of  stone.     Page  32. 

Figure  a. — Graceful  metate  with  well  modeled  head  and  with  original  patterns  on 
legs  and  tail.     l/4 

Figure  b.— Large  metate  with  broad  oval  plate  and  relatively  short  tail.     J/e 
Figure   e. — Large  metate  with  plain  legs.     V? 


MEM.  CONN    ACAD.,  VOL.  Ill 


PLATE  I! 


cl 


Plate  IV 

Series  of  stone  stools.     Page  35. 

Figure  a. — Rude   stool  with    concave  top,   the  margin  being  decorated  with  nine 

animal  heads.     J/4 

Figure  b. —  Stool  with  decorated  border  from  which  hang  four  jaguar-like  heads.     !/J 
Figure  c. — Tall  stool  supported  by  four  round  legs,  near  the  top  of  which  is  a  human 

head  in  relief.  Thirty  small  animal  heads  encircle  the  seat ;  from  Vivala.  '/i 
Figure  d. — Low  stool  supported  by  four  monkey-like  figures.     J/i 
Figure  d'. — Another  view  of  the  same  stool,  showing  concealment  of  a  mutilation.     */4 
Figure    e. — Stool  with  mortar-like  top  supported  by  monkey  and  human  forms.     J/4 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATEJjIV 


/  -S    ,- 


d 


d' 


Plate  V 

Variations  of  the  calabash  type  of  vessel.     Armadillo  ware.     Page  50. 

Figure  a. — Bowl  with  incurved  rim.     */a 

Figure  b. — Bowl  depressed  vertically,  with  angular  outlines:  from  Escaria.     2/» 

Figure   c. — Bowl  with  vertical  sides ;  from  Bugavita.     '/2 

Figure  d. — Bowl-shaped  vase  with  vertical  rim ;  from  Divala.     Vs 

Figure   e. — Tall  vase  with  pointed  base  and  flaring  rim ;  from  Divala.     '/a 

Figure  /. — Vase  with  flaring  rim  and  recurved  lip.     J/a 

Figure  g. — Vase  with  squarish  lip  around  circular  opening.     Va 

Figure  h. — Vase  with  collar;  from  Divala.     Vs 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  V 


a 


S 


f 


Plate  VI 

Series  of  tripods.     Armadillo  ware.     Page  51. 

Figure  a. — Tripod  with  angular  bowl  and  supports  slit  laterally.     J/a 

Figure  b. — Rare  double  tripod,  the  connection  serving  as  a  rattle.     2/6 

Figure   c. — Tripod,  the  supports  of  which  show  each  four  vertical  slits;  from  Buga 

vita.     Va 

Figure  d. — Tripod  with  multiple  slits  in  supports.     */a 
Figure   e. — Artistic  tripod  much  discolored  by  grease  and  smoke.     Va 
Figure  /. — Tripod  with   animal  head  on   the  shoulder  and  multiple  punctures  in 

supports  ;  from  Bugavita.     '/a 

Figure  g. — Angular  bowl  with  multiple  punctures  in  supports ;  from  Bugavita.     l/a 
Figure  h. — Tripod  with  multiple  punctures  in  supports ;  from  Escaria.     Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  VI 


a 


g 


Plate  VII 

Series  of  tripods  in  which  the  supports  suggest  the  human  form. 
Armadillo  ware.     Pages  52,  53. 

Figure  a.  — Tripod  showing  only  slight  modification  of  an  otherwise  plain  support,    '/a 

Figure  b. — Tripod  with  bifurcated  supports  representing  human  legs,     '/a 

Figure   c. — Tripod,  the  supports  of  which  are  decorated  with  the  human  head  and 

extremities.     J/a 
Figure  d. — Tripod,  each  support  of  which  is  decorated  with  two  human  heads  and 

arms.     Va 

Figure   e. — Tripod  with  supports  but  slightly  altered  to  suggest  the  human  form.     J/a 
Figure  /. — Artistic  tripod  in  which  the  human  form   of  support  is  recognized  by 

the  loin-cloth.     Va 
Figure  g. — Tripod   in   which   the    loin-cloth   is    the   distinguishing  feature  of  the 

human  form  of  support;  from  El  Banco.     Va 
Figure  h. — Tripod   whose    supports   are   grotesque   representations   of  the   human 

form;  from  Bugavita.     */a 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  VI! 


a 


Plate  VIII 

Tripods  with  grotesque  heads  serving  as  shoulder  ornaments. 
Armadillo  ware.     Page  53. 

Figure  a. — Tripod  with  a  single  grotesque  figure  attached  to  the  rim.     Va 

Figure  b. — Tripod  with  two  animal  heads  attached  to  the  rim.     Va 

Figure   c. — Bowl    with    animal    head    and   tail    decorating   the   rim    and    with    four 

supports,  the  whole  representing  a  zoomorphic  unit.     2/5 
Figure  d. — Tripod    with    animal    figures    resting   on    extensions   of  the   rim ;    from 

Bugavita.     2/6 


5 


Figure    e. — Tripod  with  entire  animal  forms  as  shoulder  ornaments.     2/ 
Figure  /. — Tripod  with  the  frog  as  shoulder  ornaments ;  from  Bugavita.     Va 
Figure  r/. — Tripod,  the  body   of  which  is  somewhat   altered  by  the  representation 

of  animal  heads  at  each  end.     Va 

Figure,  h. — Tripod  with  zoomorphic  features  encircling   the  equatorial  zone :   from 
Bugavita.     Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  VIII 


S 


f 


a 


Plate  IX 

Series  of  tripods,  the  supports  of  which  represent  the  armadillo. 
Armadillo  ware.     Pages  58,  59. 

Figure  a. — Angular  bowl  with  supports  representing  the  armadillo  in  the  round.     */a 
Figure  b. — Angular  bowl  with  supports  incised  to  represent  the  carapace,  the  head 

and  feet  being  added.     Va 
Figure   c. — Bowl  in  whose  supports  the  armadillo   is  recognized   by  incisions  for 

the  carapace,  and  incised  nodes  for  the  forefeet.     1/a 
Figure  d. — Bell-shaped  bowl  supported  by  conventionalized  forms  of  the  armadillo, 

recognized  by  head  and  carapace.     1/a 
Figure   e. — Tripod,  the  human  nailprints  on  the  supports  of  which   represent  the 

carapace  of  the  armadillo.     Va 

Figure  /. — Angular  bowl  with  supports  representing  the  armadillo.     Va 
Figure  #.— Tripod  in  whose  supports  the  armadillo  is  recognized  in  the  plain  nodes 

representing  head  and  forefeet.     1/a 
Figure  h. — Tripod  bowl  in  whose  supports  the  armadillo  is  recognized  by  a  much 

reduced  head  only ;  from  Divala.     Va 

Figure   i. — Tripod  with  simple  supports  horizontally  incised  to  represent  the  cara- 
pace.    Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  IX 


a 


Plate  X 

Series  of  vases  in  which  the  armadillo  head  is  employed  as  a  shoulder  ornament. 

Armadillo  ware.     Page  60. 

Figure  a. — Vase  with  the  armadillo  head  and  forelegs  as  shoulder  ornaments.     *l& 

Figure  b. — Vase  with  armadillo  heads  as  shoulder  ornaments,  the  forelegs  being 
reduced  to  mere  nodes ;  from  Bugavita.  J/z 

Figure  c. — Vase  showing  the  armadillo  head  and  conventionalized  foot  as  shoulder 
ornaments.  Va 

Figure  d. — Vase  with  large  simplified  armadillo  heads  as  shoulder  ornaments,  the 
conventionalized  foot  being  absent ;  from  Bugavita.  l/a 

Figure  e. — Vase  in  which  the  armadillo  head  and  feet  employed  as  shoulder  orna- 
ments are  much  reduced ;  from  Bugavita.  2/6 

Figure  /. — Vase  showing  extremely  reduced  and  simplified  armadillo  heads  as 
shoulder  ornaments.  V» 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  X 


a 


Plate  XI 

Series  of  vases  in  which  the  entire  armadillo  is  employed  as  a  shoulder  decoration. 

Armadillo  ware.     Page  61. 

Figure  a. — Vase,  the  armadillo  serving  as  shoulder  ornaments,   all  three  divisions 

of  the  carapace  being  represented.     '/a 
Figure  b. — Small  vase  in  which  the  armadillo  is  placed  lower  on  the  shoulder  and 

in  a  burrowing  attitude ;  from  Escaria.     */» 

Figure   c.— Vase  showing  the  characteristic  burrowing  attitude  of  the  armadillo.     Va 
Figure  d. — Upper  portion  of  vase  showing  that  the  armadillo  foot  and  the  incised 

nodes  on  the  neck  of  the  vase  are  identical.     Va 
Figure   e. — Vase   in  which   the   shoulder   ornaments  represent  the  armadillo  with 

characteristic  incised  tail.     Va 
Figure  /. — Vase  with  the  armadillo  as  shoulder  ornaments  and  with  the  tail  motive 

as  a  neck  ornament.     Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XI 


Plate  XII 

Series  of  collared  and  double-mouthed  vases.     Armadillo  ware.     Page  63. 

Figure  a. — Collared  vase  with  incised  zone,     '/a 

Figure  I. — Collared  vase.     Va 

Figure  c. — Double-mouthed  vase  showing  that  the  eyes  and  carapace  of  the  arma- 
dillo are  identical  with  the  decorative  motives  on  the  necks  of  the  vase : 
from  Bugavita. 

Figure  d.— Plain  double-mouthed  vase,  in  which  the  paired  necks  are  set  rather 
far  apart,  '/a 

Figure   e.— Double  vessel  in  which  the  necks  are  fused.     \/2 

Figure  /. — Tripod  vase  with  shoulder  ornaments  representing  the  entire  arma- 
dillo; from  Escaria.  Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XII 


a 


Plate  XIII 

Series  of  vases  in  which  the  handles  are  decorated  with  armadillo  motives. 

Armadillo  ware.     Page  64. 

Figure  a. — Vase,  the  paired  handles  of  which  represent  the  armadillo.     Va 
Figure  b.— Vase  with  paired  handles  entirely  covered  with  carapace  motives.     l/* 
Figure   c. — -Vase  in  which  the  paired  handles  are  ornament  with  nodes  and  fillets 

representing  armadillo  motives.     Va 
Figure  d. — Vase  with  paired  handles,   on   which  the  armadillo  motives  are  much 

simplified.     J/a 

Figure   e. — Vase  with  paired  handles  simply  incised  to  represent  the  carapace,     '/a 
Figure  /. — Vase  with  a  single  handle,   the  neck  and  the  handle  being  decorated 

with  applied  tail  symbols  and  eye  symbols.     Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XIII 


Plate  XIV 

Series  of  vases  in  which  the  frog  is  employed  as  shoulder  ornaments. 

Armadillo  ware.     Page  67. 

Figure  a. — Vase  showing  admirable  adaptation  of  ornament  to  form  ;  from  Jacu.     x/a 

Figure  b. — Vase  on  which  the  representation  of  the  frog,  especially  its  flattened 
feet,  suggests  the  technique  in  metal  rather  than  in  clay.  */a 

Figure  c. — Vase  with  a  pair  of  frogs  on  each  shoulder,  the  hind  feet  being  re- 
presented by  a  flat  band  of  clay,  '/a 

Figure  d. — Beautifully  modeled  vase  in  which  the  metal-like  frogs  serving  as 
shoulder  ornaments  cover  oval  openings  in  the  wall  of  the  vase.  J/2 

Figure  e. — Vase  with  elongated  neck,  and  shoulder  ornaments  representing  the 
frog.  V« 

Figure  /. — Small  vase  with  shoulder  ornaments  representing  a  ceramic  type  of 
frog.  Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XIV 


a 


Plate  XV 

Series  of  vases  showing  a  variety  of  plastic  shoulder  ornaments. 
Armadillo  ware.     Pages  69,  70. 

Figure  a. — Vase  with  monkeys  serving  as  shoulder  ornaments,     '/a 

Figure  b. — Vase  with  shoulder  ornaments  representing  the  lizard.     lls 

Figure   c. — Vase  with  two  catlike  creatures  figuring  as  shoulder  ornaments.     J/a 

Figure  d. — Remarkable  form   of  vase   in   which   the   diameter  of  the  rim  is   much 

greater  than  that  of  the  body.     Va 

Figure   e. — Vase,  the  shoulder  ornaments  of  which  resemble  the  armadillo.     ]/2 
Figure   /'. — Vase  with  squarish  lip  and  with  shoulder  ornaments  representing  a  form 

of  bird.     2/6 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XV 


a 


Plate  XVI 

Series  of  vase  forms  selected  from  the  salmon-colored  variety  of 
armadillo  ware.     Page  71. 

Figure  a. — Vase   with   shoulder  ornaments  that   may  represent  the   armadillo  head 

encircled  by  the  carapace  motive.     Va 

Figure  b. —  Rare  vase  with  loop  handles  and  flat  bottom.     1k 
Figure   c. — Vase  with  elongated  neck  and  plastic  shoulder  ornaments ;  from  Buga- 

vita.     */a 
Figure  d. — Vase  with  bulging  collar  on  which  the  plastic  shoulder  ornaments  rest; 

from  Vivala.     Va 

Figure   e. — Vase  with  incised  collar  and  no  shoulder  ornaments.     2/6 
Figure  f. — Vase  in  which  the  plastic  figures  serve  as  handles  connecting  the  rim 

and  shoulder,     '/a 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XVI 


a 


Plate  XVII 

Typical  examples  of  serpent  ware.     Pages  72,  73. 

Figure  a. — Characteristic  vase  with  handles,  the  incised  decoration  representing 
a  two-headed  serpent  with  forked  tongue ;  from  Vivala  (not  Divala).  3/4 

Figure  b. — Vase  in  which  the  incised  two-headed  serpent  encircles  the  body  nearly 
three  times.  ZU 

Figure  c. — Vase    on   which    the   serpent   motive   survives    as   a  purely   geometric 

pattern ;  from  Divala.     3U 

Figure  d. — Vase  ornamented  with  geometric  serpent  symbols ;  from  Divala.     3/.j 
Figure   e. — Vase  with  incised  geometric  decorations  derived  from  the  serpent.     s/4 
Figure  /. — Vase  with  no  incised  decorations.     */a 


MEM    CONN.  ACAD.,  VOL.  Ill 


PLATE  XVII 


f 


d 


a 


Plate  XVIII 

Series  of  typical  unpainted  handled  vases  in  which  armadillo 
motives  predominate.     Page  74. 

Figure  a. — Vase  in  which  the  handles  represent  the  armadillo.     2/6 

Figure  b. — Vase,  the  handles  of  which  are  decorated  with   armadillo  motives.     2/s 

Figure   c. — Vase  in  which   the  handle  is  reduced  to  a  mere  knob,  only  the  eyes 

and  the  ventrally  placed  carapace  of  the  armadillo  being  represented.     2/6 
Figure  d. — Vase  in  which  the  reduced  horizontal  loop-handles  are  decorated  with 

carapace  symbols.     2/a 
Figure   e. — Vase  in  which  the  much  reduced  vertical  handles  are  ornamented  with 

carapace  motives.     2/6 
Figure   f. — Vase  in  which  the  vertical  handles  unite  shoulder  and  rim   and   are 

entirely  covered  with  carapace  symbols.     2/6 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XVIII 


a 


Plate  XIX 

Vases  belonging  to  the  unpainted  handled  ware.     Page  75. 

Figure  a. — Vase  with  horizontal  loop-handles  so  treated  as  to  indicate  an  animal 
form.  2/B 

Figure  b. — Vase  with  animal  motives  ornamenting  handles  and  shoulder;  from 
Divala.  2/6 

Figure  c. — Vase  decorated  with  plastic  animal  forms,  connecting  shoulder  and  rim 
and  so  arranged  as  to  suggest  double  handles ;  from  Gualaca.  2/5 

Figure  d. — Vase  with  plastic  human  figure  decorating  the  handles ;  the  flattened 
nodes  resembling  rivet  heads  that  encircle  the  body  of  the  vessel  prob- 
ably represent  the  body-markings  of  the  alligator.  */2 

Figure  e. — Flat-bottomed  vase  in  which  each  horizontal  handle  is  composed  of 
two  united  figures  of  either  man  or  monkey.  Va 

Figure  /. — Flat-bottomed  vase  in  which  both  horizontal  and  vertical  type  of  handle 
are  combined  in  one.  2/B 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XIX 


a 


Plate  XX 

Series  of  vases  showing  two   prevailing  types  of  rim   and  handles,    the   latter  de- 
corated with  animal  motives.     Painted  handled  ware.     Page  79. 

Figure  a. — Vase  with  vertical  paired  handles  connecting  shoulder  and  lip,  the 
three  nodes  on  each  handle  representing  an  animal  form.  2/6 

Figure  b. — Vase  with  graceful  vertical  handles,  on  each  of  which  is  a  pair  of  nodes 
connected  by  a  fillet.  2/6 

Figure  c. — Vase  with  two  nodes  on  each  handle  representing  the  ears  or  eyes  of 
some  animal  form.  2/s 

Figure  d. — Vase  with  but  a  single  node  on  each  handle.     2/6 

Figure  e. — Vase  with  horizontal  handles  that  do  not  affect  the  shape  of  the  rim  ; 
from  Bugavita.  2/6 

Figure  /. — Vase  with   horizontal   handles,    the  neck    being  adorned   with    incised 

patterns.     2/6 
Figure  g. — Vase  with  incised  shoulder,   and  handles   that  represent  animal  forms; 

from  El  Banco.     2/6 
Figure  h. — Vase  in  which  the  two  plain  nodes  on  each  handle  represent  the  ears 

or  eyes  of  some  life  form.     2/6 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XX 


d 


Plate  XXI 

Series  of  vases  in  which  the  vertical  handles  are  converted  into  human  or  apelike 
forms  by  the  addition  of  plastic  features.     Painted  handled  ware.     Page  79. 

Figure  a. — Small  vase  in  which  the  handles  resemble  the  human  figure  with  pro- 
boscis.   Va 

Figure  b. — Vase  in  which  each  handle  is  a  twin  figure ;  from  Bugavita.     '/a 
Figure   c. — Vase  in  which  each  handle  is  represented  by  two  figures ;  from  Divala.    Va 
Figure  d. — Vase  in  which  each  handle  represents  a  grotesque  human  figure.     ','2 
Figure   e. — Small  low  vase  with  flaring  rim  with  handles  representing  the  human 

form.     Va 

Figure  /. — Small  vase  with  sloping  rim  and  grotesque  figures  serving  as  handles.     Va 
Figure  g. — Vase  with  incised  shoulder  ornamentation,  two  grotesque  figures  taking 

the  place  of  handles.     Va 

Figure  A. — Vase  in  which  the  human  figures  serving  as  handles  are  deftly  modeled 
(see  text-fig.  126);  from  Bugavita.     Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXI 


d 


Plate  XXII 

Series  of  tripod  vases  in  which  the  red  paint  is  smeared  by  being  rubbed  before 

it  was  dry.     Fish  ware.     Page  85. 

Figure  a. — Vase  in  which  the  supports  are  ornamented  with  the  eyes,  mouth  and 
tail  fin  of  the  fish ;  from  Bugavita.  Va 

Figure  b. — Vase  with  spreading  supports  bearing  pectoral  fins  only.     Va 

Figure  c. — Vase  in  which  the  supports  are  made  to  resemble  a  bird,  probably  the 
hawk  or  parrot.  Va 

Figure  d, — Vase  with  plain  supports  except  for  the  projection  at  the  hip  to  suggest 
the  nose  of  the  fish.  Va 

Figure  e. — Large  vase  with  plain  legs  except  for  a  flattening  at  the  foot  to  in- 
dicate the  caudal  fin.  Va 

Figure  /. — Vase  with  diagonally  incised  handles  and  plain  supports.     Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXI! 


a 


d 


Plate  XXIII 

Series  of  large  tripod  vases.     Fish  ware.     Pages  85,  86. 

Figure  a. — Graceful  urn-shaped  vase,  the  neck  being  adorned  with  a  series  of 
scrolls  and  an  incised  fillet,  and  the  tripod  supports  showing  realistic 
representations  of  the  fish,  with  all  except  the  anal  fins  present.  ljs 

Figure  b. — Large  vase,  the  dorsal  fins  on  the  supports  being  placed  forward  on 
the  tip  of  the  nose  and  between  the  eyes.  ljs 

Figure  c.— Vase  with  highly  curved  fishlike  supports  on  which  only  pectoral,  ven- 
tral and  caudal  fins  are  present.  1J3 

Figure  d. — Unique  vase  with  long  cone-shaped  neck  and  plain  angular  handles, 
only  the  pectoral  and  caudal  fins  remaining  on  the  fish-shaped  sup- 
ports. Vs 

Figure  e. — Vase,  the  supports  of  which  are  plain  except  for  a  hip  decoration  re- 
presenting the  mouth,  eyes  and  dorsal  fin  of  the  fish,  '/a 

Figure  /. — Large  vase,  one  of  whose  supports  represents  the  fish,  while  the  other 
two  are  highly  realistic  alligator  forms.  lla 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXIII 


a 


f 


Plate  XXIV 

Series  of  tripod  vases  in  which   the  fish   attributes  are  overshadowed  by  the  ad- 
dition of  other  animal  forms.     Fish  ware.     Pages  88,  89. 

Figure  a. — Large   vase  without  handles,  the   fishlike  supports   showing  grotesque 

apelike  figures  on  the  nose  of  each  fish ;  from  El  Banco.     1U 
Figure  b.— Large  vase  with  twisted  handles,  the  hip  ornaments  on  the  legs  being 

different  in  each  case :  from  El  Banco.     Vs 

Figure   c. — Vase  with  a  long-tailed  animal  reposing  on  the  hip  of  each  support.     Vs 
Figure  d. — Vase  in  which  the  hip  ornament  resembles  the  owl.     Vs 
Figure   e. — Vase,  the  supports  of  which  bear  a  realistic  representation  of  the  owl 

as  hip  ornaments ;  from  Divala.     1J3 
Figure  /. — Vase  in  which  the  frog  appears  as  hip  ornament  on  the  supports,     '/a 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXIV 


Plate  XXV 

Series  of  vases   exhibiting  a  variety  of  forms.     Red  line  ware.     Pages  92,  93. 

Figure  a.— Large  globular  vase  with  gently  curving  paired  handles.     1I3 

Figure  b. — Small  vase  with  single  handle,  opposite  which  are  two  plain  nodes  of 

clay.     1I» 
Figure   c. — Vase  with  single  handle,  the  relief  ornaments  on  the  neck  representing 

the  human  features.     2/B 
Figure  d. — Vase  without  handles,  the  margin  of  the  rim  being  marked  by  radiating 

incisions  ;  from  Divala.     '/2 
Figure   e. — Tripod   with    characteristic   loop    foot,    paired  indeterminate  life  forms 

decorating  the  body  of  the  vase  ;  from  Caldera.     2/r, 
Figure  /. — Unique  vase  with  projecting  collar  and  annular  foot :  may  have  served 

as  a  drum.     1J3 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXV 


Plate  XXVI 

Series  of  vessels  of  varied  form  and  decoration.     Scarified  ware.     Pages  99,  100. 

Figure  a. — Fine  large  jar  with  flat  bottom  and  flaring  rim,  the  scarified  zone  reach- 
ing from  near  the  base  to  the  neck.  1J3 

Figure  b. — Two-storied  vase ;  the  upper  story  plain,  the  lower  story  entirely  cov- 
ered with  scarifications.  :/a 

Figure  c. — Vase  with  four  legs,  the  applied  head  and  tail  completing  the  zoomorphic 
unit.  The  scarifications  represent  the  armadillo  carapace.  l/s 

Figure  d. — Graceful  tripod  with  long  solid  legs  probably  representing  the  arma- 
dillo, as  indicated  by  the  prominence  at  the  hip.  2/6 

Figure  e. — Bell-shaped,  flat-bottomed  tripod,  the  legs  of  which  are  missing.  The 
scarified  surfaces  give  the  effect  of  having  been  produced  by  some 
textile  fabric ;  from  Caldera.  2/6 

Figure  /. — Tripod  bowl  with  scarifications  suggesting  the  warp  and  weft  of  bas- 
ketry. a/3 

Figure  (/.—Tripod  scarified  in  vertical  bands,  one  being  left  unfinished.     Vs 

Figure  h. — Vase  with  flaring  rim,  the  bowl  being  practically  covered  with  scari- 
fications. */3 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXVI 


Plate  XXVII 

Vases  representing  two  distinct  types  of  lost  color  ware.     Pages  106,  110. 

Figure  a. — Globular  vase  with  linear  decorations  covering  body  and  neck,  the 
entire  original  ground  being  red  in  color.  s/6 

Figure  b. — Vase,  the  original  ground  of  which  consists  of  red  and  cream  zones, 
the  latter  being  decorated  with  a  series  of  monkey  forms;  from  Buga- 
vita.  :'/6 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXVI I 


Plate  XXVIII 

Series   of  vases  with   original  ground   of  red   and   with   linear  decorations. 
Lost  color  ware.     Pages  107,  108. 

Figure  a, — Vase  with  quadrangular  panels  in  upper  zone.     Va 

Figure  b. — Vase  with  ornamented  arched  panels  in  upper  zone.     Va 

Figure   c. — Vase  in  which  the  upper  zonal  decorations,  consist  of  groups  of  lines 

radiating  from  the  neck,  the  lower  zone  being  banded  horizontally.     Va 
Figure  d. — Vase  in  which  the  upper  zone  is  decorated  longitudinally  and  the  lower 

zone  latitudinally ;  from  El  Banco.     Va 
Figure   e. — Vase,   the   upper   zone  of  which  is   decorated  with  groups  of  parallel 

bands  that  meet  and  disappear;  from  Vivala  (not  Divala).     Va 
Figure  /. — Vase  with  flaring  rectangular  lip,   the   upper  zone  being  traversed  by 

a  meandering  group  of  parallel  lines ;  from  Vivala.     Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXVIII 


Plate  XXIX 

Series  of  vases,   some  with  handles   or  ornaments   in  relief,  the  original  ground 
color  being  red.     Lost  color  ware.     Pages  108,  109. 

Figure  a. — Vase  with  cross-banded  handles  and  with  linear  and  panel  decorations.     2/B 
Figure  b. — Vase  with  cross-banded  handles,  the  decorations  near  the  base  of  each 

handle  consisting  of  alligator  motives.     2/B 
Figure   c. — Vase,  the  unpolished  neck  of  which  is   ornamented  with  eye  symbols 

in  relief,  the  painted  decoration  of  the  body   being  longitudinal   in  the 

upper  zone  and  latitudinal  in  the  lower  zone ;  from  Vivala  (notDivala).    2/6 
Figure  d. — Vase,    the   shoulder  of  which    is   decorated  with    six   diamond-shaped 

panels  :  from  Divala.     2/6 
Figure    e. — Wide-mouthed  vase  with   recurved  lip,  the  shoulder  being   decorated 

with  dorsal-view  motives  derived  from  the  alligator;  from  Divala.     2/5 
Figure  /. — Vase,  the  collar  of  which  is  modified  to  represent  an  animal  form.     2/5 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXIX 


b 


a 


Plate  XXX 

Series  of  vases  in  which  the  ground  colors  are  light  above  and  red  below,  either 

alligator  motives  or  serpent  motives  appearing  in  the  designs. 

Lost  color  ware.     Pages  111,  112. 

Figure  a. — Vase   whose  circular   rim  bears  vestiges   of  a  square   lip ;   the  neck  is 

ornamented  with  painted  eye  ornaments.     Va 
Figure  b. — Vase  with  two  animal  heads  in  "relief  on  the  equatorial  zone,  a  single 

tail  appearing  on  the  opposite  side.     Va 
Figure    c. — Vase   whose    shoulder    is    decorated    with    the    head   and   tail  of  the 

racoon,    the    panel    patterns    of  the  intervening  spaces    being  alligator 

motives,     Va 

Figure  d. — Vase  decorated  with  design  resembling  serpent  motives.     Va 
Figure   e. — Vase  in  which  the  panel  designs  resemble  the  serpent  motive.     Va 
Figure  /. — Vase  with  single  vertical  handle,  the  shoulder  decoration  being  a  spool 

shaped  motive.     Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXX 


a 


d 


Plate  XXXI 

Series  of  vases,   the  decorations   on  which  are  derived  from  the  dorsal  view  of 
the  alligator.     Lost  color  ware.     Pages  117,  118. 

Figure  a. — Vase  with  two  types  of  dorsal-view  motive  derived  from  the  alligator, 
one  on  the  neck  and  one  on  the  shoulder;  from  Bugavita.  2/6 

Figure  b. — Vase  in  which  the  arched  panels  and  the  field  surrounding  the  neck 
are  covered  by  series  of  dorsal-view  motives,  the  lateral  serrations  being 
plain  spines.  2/6 

Figure  c. — Flat-bottomed  vase  like  a  tea-caddy  in  shape ;  the  body  is  de- 
corated with  three  overlapping  panels :  the  three  panels  on  the  shoulder 
are  separated  by  dorsal-view  motives.  Va 

Figure  d. — Vase  in  which  the  shoulder  zone  is  decorated  with  the  dorsal-view 
motive  repeated  seven  times ;  from  Bugavita.  2/B 

Figure  e. — Vase  in  which  the  two  small  arched  panels  each  contain  two  dorsal- 
view  motives  placed  obliquely.  Va 

Figure  /. — Vase  with  rectangular  lip,  the  panel  decorations  on  the  shoulder  re- 
sembling the  dorsal-view  motive  placed  horizontally.  lla 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXXI 


a 


Plate  XXXII 

Series  of  tripods  showing  variations  in  form  and  ornamentation. 
Lost  color  ware.     Pages  122 — 124. 

Figure  a. — Tripod  vase  with  the  body  altered  in  the  equatorial  region  to  resemble 
the  crab ;  the  shoulder  is  divided  into  four  panels  by  spool-shaped 
ornaments,  each  panel  showing  a  series  of  monkeys ;  from  Vivala  (not 
Divala).  2/5 

Figure  b. — Shallow  tripod  bowl  representing  the  turkey-buzzard,  the  painted  dec- 
orations consisting  of  groups  of  parallel  lines  meeting  at  various 
angles  ;  from  Divala.  % 

Figure  c. — Open  shallow  tripod  bowl  the  outer  surface  of  which,  except  the  legs, 
is  elaborately  decorated ;  from  Divala.  2/6 

Figure  d. — Tripod  vase  showing  a  design  of  six  groups  of  vertical  bands  alter- 
nating with  spool-shaped  ornaments,  accompanied  by  eyes,  '/a 

Figure    e. — Tripod  bowl  showing  painted  interior  decorations ;  from  Divala.     Va 

Figure  f. — Tripod  vase  whose  entire  outer  surface  is  completely  covered  with 
decorations,  the  sides  being  divided  into  panels  by  groups  of  vertical 
bands  ;  from  Divala.  2/3 

Figure  g. — Rare  type  of  tripod  vase  with  sloping  flattened  upper  zone  and  steeply 
sloping  collar.  2/B 

Figure  h. — Calabash  type  of  tripod  bowl ;  spool-shaped  ornaments  accompanied  by 
eyes  convert  the  supports  into  an  animal  form,  the  cross-banding  sug- 
gesting the  armadillo  carapace ;  from  Divala.  Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXXII 


d 


Plate  XXXIII 

A  typical  series  of  vases.     Alligator  ware.     Pages  128 — 130. 

Figure  a. — Vase  in  which  the  two  large  panels  are  each  decorated  with  a  realistic 
representation  of  the  alligator,  combining  all  its  characteristic  features.  3/s 

Figures  b  and  c. — Characteristic  vases,  the  shoulder  of  each  being  ornamented 
with  two  alligators ;  c  is  from  Vivala.  2/5 

Figure  d. — Double-necked  vase  with  representation  of  the  alligator  in  which  the 
head  is  turned,  the  long  jaws  extending  over  the  back  and  tail ;  from 
Bugavita.  '/a 

Figure  e. — Vase  illustrating  conventional  treatment  of  the  alligator;  from  Buga- 
vita. */, 

Figure  /. — Vase  whose  shoulder  decorations  represent  the  alligator  with  much 
reduced  body  and  extremities.  3/5 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXXIII 


a 


Plate  XXXIV 

Series  of  vases  showing  progressive  steps  in  the  process  of  conventionalizing  the 
alligator  form.     Alligator  ware.     Page  132. 

Figure  a. — Vase  in  which  the  decoration  represents  the  alligator  with  two  heads 
but  only  one  nuchal  appendage  -  -  an  example  of  both  reduplication 
and  elimination.  3/ft 

Figure  b. — Vase  ornamented  with  the  double-headed  type  of  alligator  motive.  3/.-, 
Figure  c. — Vase,  the  shoulder  zone  of  which  is  adorned  with  alligator  motives.  3j-n 
Figure  d. — Vase  in  which  the  lower  zone  is  red  and  the  upper  zone  shows  a  series 

of  alligator  motives ;  from  Vivala  (not  Divala).     1/2 

Figure  e. — Vase  in  which  the  panel  decoration  on  the  shoulder  consists  of  alli- 
gator motives.  */j 

Figure  f. — Vase  in  which  simplification  and  general  reduction  of  the  alligator 
form  reach  their  limit.  1/» 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXXIV 


Plate  XXXV 

Series  of  vases  in  which  the  meaning  of  the  zonal  shoulder  decoration   is  some- 
what obscure.     Alligator  ware.     Page  132,  133. 

Figure  a. — Vase  in  which  the  alligator  motive  is  recognizable  in  the  zonal  shoulder 

decoration,  the  design  being  repeated  three  times.     3/5 
Figure  b. — Vase  in   which   the  zonal   decoration   is  the   multiple  body-line  of  the 

alligator  with  body-markings  in  the  hollow  of  each  curve.     3/r> 
Figure   c. — Vase   of  which   the  elaborate  motive   on   the  shoulder  is   referable   to 

the  alligator  (see  text-fig.  226).     V2 
Figure  d. — Vase    in   which    the   shoulder   zone   is   divided   into  three   panels,  each 

ornamented  with  the  dorsal-view  motive.     1/2 
Figure    e. — Vase   in   which   the  shoulder  decoration   is   probably   a  variant   of  the 

dorsal-view  motive.     l/., 
Figure  /. — Vase  in  which  the  shoulder  ornamentation  consists  of  paired  concentric 

rings.     Va 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXXV 


a 


Plate  XXXVI 

Series  of  vases  with  three  arched  panels,  illustrating  freedom   in  the  treatment  of 
alligator  motives.     Alligator  ware.     Page  134. 

Figure  a. — Characteristic  vase  in  which  the  decoration  of  the  arched  panels  con- 
sists of  the  dorsal-view  motive.  1/2 

Figure  b. — Vase  whose  panel  design  is  a  variation  of  the  dorsal-view  motive.     */2 

Figure  c. — Vase  in  which  the  association  of  spots  and  zigzag  lines  suggests 
a  multiple  body-line  with  dermal  markings;  from  Divala.  1J2 

Figure  d. — Vase,  the  panel  design  of  which  is  a  typical  dorsal-view  motive ;  from 
Divala.  V2 

Figure   e. — Vase  in  which  the  short  vertical  bands  crossing  each  panel  are  accom- 


1; 


panied  by  scale-group  symbols ;  from  Divala.     '/•> 
Figure  /. — Vase  whose  panel  design  is  a  variant  of  the  dorsal-view  motive ;  from 
Divala.     *» 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXXVI 


Plate  XXXVII 

Series  of  vases  in  which  the  shoulder  decoration  consisting  of  four  rosette  patterns 
is  the  dominant  feature.     Alligator  ware.     Page  136. 

Figure  a. — Vase  with  alligator  motives  ornamenting  lip  and  shoulder.     2/s 
Figure  b.— Small  vase  with  alligator  motives  on  the  lip,    also  on  the  raised  nodes 
of  the  shoulder ;  from  Bugavita.     2/.< 

Figure   c.— Vase   in   which   the  design  is  confined  to   the  rosettes  on  the  raised 

nodes,  the  central  feature  of  each  being  three  scale-group  symbols.     1/0 
Figure  d. — Vase  in  which  the  scale-group  motives  are  disengaged  from  the  inner 

circle  of  the  rosette  ;  the  interspace  is  marked  by  a  cross  ;  from  Divala.   */- 
Figure   e. — Vase   in   which   the  center  of  the  rosette   is   a  cross  accompanied   by 

four  scale-group  motives ;  from  Divala.     '/a 
Figure   f. — Vase  in  which  the  accentuated  nodes  are  applied  to  the  outer  surface, 

the  painted  decoration  being  a  variant  of  that  in  figure  e.     ljs 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXXVII 


a 


d 


Plate  XXXVIII 

Representative  series  of  vases  with  plastic  features  applied  to  the  shoulder. 

Alligator  ware.     Pages  136,  137. 

Figure  a. — Vase  ornamented  with  a  human  head  and  short  upturned  tail  alternating 
with  painted  representations  of  the  alligator ;  from  Vivala  (not  Divala).  llt 

Figure  b. — Vase  with  unique  form  of  painted  alligator  motive.     llz 

Figure  c. — Vase  with  two  opposed  plastic  heads  on  the  shoulder,  the  painted 
alligator  form  showing  stylistic  tendencies.  1/2 

Figure  d. — Vase  illustrating  a  diagrammatic  treatment  of  the  double-headed  alli- 
gator between  the  plastic  shoulder  ornaments.  ljt 

Figure  e. — Small  vase  in  which  the  painted  ornament  represents  the  double-headed 
alligator  with  both  nuchal  crests  applied  to  the  same  neck.  '/2 

Figure  /. — Vase  in  which  the  relief  ornaments  are  reduced  to  mere  nodes,  a  panel 
containing  a  multiple  body-line  accompanied  by  dermal  markings  being 
placed  on  each  side.  J/« 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXXVIII 


d 


Plate  XXXIX 

Series  of  rare  tripod  vases.     Alligator  ware.     Pages  138,  139. 

Figure  a. — Tripod  of  which  each  panel  decoration  is  formed  by  a  series  of  scale- 
group  motives ;  from  El  Banco.     1/2 
Figure  b. — Tripod  in  which  the  two  double   panels  are  decorated  with  scale  and 

spine  symbols ;  from  Jacu.     1/.> 
Figure   c. — Wide-mouthed  tripod  with  spine  symbols  arranged  in  groups   of  two ; 

from  Jacu.     '/2 
Figure  d. — Shallow   tripod   bowl   with   horizontal   bands   decorating  the  rim.   from 

the   lowest   of  which   hangs   a  series   of  spine   symbols   in   black ;    from 

Divala.     >/2 
Figure    e. — Tripod   bowl  with   gently   incurved  rim ;    the   central    zone    is    divided 

into   three   panels,   each  containing   sigmoid  patterns ;   from  Vivala  (not 

Divala).     ^ 
Figure  /. — Tripod  vase  in  which  the  shoulder  decoration  consists  of  three  arched 

panels ;    the  designs  in  these  are  probably  variants   of  the   dorsal-view 

motive.     1/0 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XXXIX 


a 


Plate  XL 

Series  of  vases  combining  plastic  and  painted  decoration. 
Alligator  ware.     Pages  139,  140. 

Figure  a. — Tripod  vase  with  shoulder  ornaments  representing  the  animal  head  and 
tail  in  the  round,  also  with  painted  figures  of  the  alligator  on  each 
side.  */2 

Figure  b. — Tripod  in  which  both  plastic  and  painted  ornaments  are  probably 
referable  to  the  alligator.  1/., 

Figure  c. — Small  tripod  illustrating  the  combination  of  relief  and  painted  dec- 
oration. '/« 

Figure  d. — Vase  with  plastic  shoulder  ornaments,  the  panel  designs  being  the 
scale-group  motive.  1/2 

Figure   e. — Small  tripod  in  which  the  painted  ornament  supplements  the  plastic.     1/1 

Figure  /. — Compound  tripod  with  a  series  of  alligator  motives  about  the  two 
rims.  V 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XL 


a 


Plate  XLI 

Series  of  vases  representing  a  variety  of  unusual  forms. 
Alligator  ware.     Pages  140,  141. 

Figure  a. — Tripod  vase  resembling  the  armadillo.     1/a 

Figure  b. — Tripod  vase  i-eseinbling  the  crab,  and  with  animal  heads  for  supports.     l/:: 
Figure   c. — Tripod  representing  the  jaguar-god,  the  arms  of  which  serve  as  handles 
to  the  vessel ;  on  the  panel  at  the  back  is  a  painted  figure  of  the  alli- 
gator; from  San  Carlos.     1/., 

Figure  d. — Tripod  probably  representing  the  jaguar-god.     1/2 

Figure  e. — Unique  thick-walled  vase  with  annular  base,  and  a  series  of  scale- 
group  symbols  encircling  the  bowl ;  from  Jacu.  1J2 

Figure  f. — Unique  form  of  vase  supported  by  three  half-human  forms  standing 
on  a  ring-shaped  base ;  the  panel  designs  consist  of  the  alligator 
motive.  2/g 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XLI 


a 


Plate  XLII 

Lost  color  ware  and  alligator  ware.     Pages  112,  141,  142. 

Figure  a. — Small  vase  beautifully  modeled  and  painted,  illustrating  the  use  of 
white  bands  crossing  the  original  ground  of  red ;  from  Divala.  Lost 
color  ware.  3/5 

Figure  b. — Vase  in  which  the  peripheral  band  and  those  tangent  to  the  neck  are 
red  on  a  light  ground ;  from  Divala.  Lost  color  ware.  :l/5 

Figure  c. — Rare  form  of  vase  illustrating  the  use  of  engaged  plastic  life  forms  as 
supports,  the  figures  being  apparently  those  of  the  human  female ;  re- 
presentations of  the  alligator  adorn  the  panels  of  the  neck  and  sides 
(see  text- fig.  242).  Alligator  ware.  2' 


ii 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATEXLII 


Plate  XLIII 

Distinct  animal  forms  with  vesicular  bodies.     Alligator  ware.     Pages  143 — 145. 

Figure  a. — Fusion  of  vase  and  animal  form  representing  the  jaguar ;  jaguar-like 
markings  appear  about  the  eyes  and  on  the  throat,  while  the  neck, 
sides  and  tail  are  decorated  with  a  series  of  89  panels,  all  enclosing 
alligator  motives.  x/8 

Figure  b. — Dorsal  view  of  the  foregoing. 

Figure  c. — Vase  representing  the  tapir,  the  painted  designs  being  traceable  to  the 
alligator.  1/2 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XLIII 


Plate  XLIV 

Polychrome  ware.     Pages  152 — 154. 

Figure  a. — Pitcher-shaped  vase  with  horizontally  flattened  lip ;  the  handle  is  broken 
off;  the  notches  cut  from  the  scrolls  on  the  neck  and  panels  represent 
engaged  alligator  motives  (see  text-rigs.  253  and  254) ;  from  Gualaca.  2/3 

Figure  b. — Vase  of  eccentric  form,  the  chief  ornamental  feature  being  the  elabo- 
rate branching  scroll  filling  each  of  the  two  shoulder  panels :  here  the 
egaged  alligator  motives  are  more  easily  distinguishable  than  in  figure  a.  ll? 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XLIV 


Plate  XLV 

Superb  example  of  ancient  Chiriquian  decorative  art. 
Polychrome  ware.     Pages  157,  158. 

Figure  a. — Unique  vase  consisting  of  a  shallow  bowl  mounted  on  a  hollow  per- 
forated stand,  ever}'  visible  part  being  ornamented  in  black,  red  and 
purple  on  a  cream  ground.  The  design  on  the  outer  surface  of  the 
bowl  resolves  itself  into  two  units  of  the  classic  fret,  while  that  on  the 
interior  (see  frontispiece)  is  a  representation  of  the  alligator-god  accom- 
panied by  alligator  symbols.  1/2 

Figure  b. — Detail  (from  fig.  a)  of  the  classic  fret  composed  of  a  common  body- 
line,  each  end  of  which  terminates  in  an  alligator  head.  */2 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XLV 


a 


Plate  XLVI 

Series  of  clay  stools.     Armadillo  ware.     Page  162. 

Figure  a. — Elementary  type  of  stool  resembling  one  class  of  metate  as  well  as 
the  recent  Chiriquian  wooden  stools.  */« 

Figure  b. — Stool  illustrating  the  transition  from  the  square  type  to  the  prevailing 
round  type.  1/g 

Figure   c. — Stool  with  gently  convex  top.     '/» 

Figure  d. — Stool  with  seat  that  rests  on  a  hollow  stand,  whose  walls  are  con- 
tinuous except  for  narrow  vertical  slits.  The  flattened  or  beaten  char- 
acter of  the  supporting  figures  resembles  work  in  metal.  '/» 

Figure  e. — Low  stool  with  convex  seat  resting  on  a  hollow  perforated  stand,  to 
which  are  applied  figures  of  men  and  monkeys.  1/s 

Figure  /. — Stool,  the  seat  of  which  is  supported  by  figures  of  monkeys  standing 
on  a  ring-shaped  base.  The  same  type  is  seen  among  stone  stools.  1/8 


MEM.  CONN.  ACAD.,  VOL  III 


PLATE  XLVI 


Plate  XLVII 

Series  of  whistles  in  the  form  of  birds.     Alligator  ware.     Page  174. 

Figure  a.— Parrot-shaped  whistle  with  vestigial  head  on  the  breast  and  a  real  head 
that  has  the  appearance  of  being  removable.  •/„ 

Figure  b.— Bird-shaped  whistle  with  vestige  of  a  head  on  the  pointed  breast  and 
head  on  the  shoulders  that  has  the  air  of  being  detachable.  2/., 

Figure  c.— Bird-shaped  whistle  with  head  turned  so  as  to  heighten  the  resem- 
blance to  a  former  adjustable  state.  The  painted  spot  on  the  breast 
represents  a  vestigial  head.  2/3 

Figure  d. — Bird-shaped  whistle.     2/8 

Figure  e. — Bird-shaped  whistle  with  primitive  vestigial  head  on  the  breast ;  from 
Tacu.  2/, 

•J  to 

Figure  /. — Bird-shaped  whistle.     2/8 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XLVII 


Plate  XLVIII 

Series  of  gold  images.     Pages  203-217. 

Figure  a. — Image  of  fine  gold  in  the  shape  of  a  frog  with  flattened  feet  and  with 

serpent  motive  ornamenting  the  head.     V, 
Figure  b. — Image    of   low-grade    gold    representing    a    frog    with   eyes  resembling 

sleigh-bells ;  the  metal  ball  in  each  is  practically  pure  copper.     Vi 
Figure   c. — Image  of  fine  gold  representing  a  double  bird,     '/i 
Figure  d. — Realistic  jaguar  figurine  of  fine  gold.     */i 
Figure    e. — Human  figurine  of  high-grade  gold,  holding  a  rattle  in  the  right  hand 

and  something  resembling  a  flute  in  the  left  (see  PI.  XLIX,  figs,  b  and  c) ; 

the    apparel   is  represented   by   head   ornament,    loin-girdle,    apron   and 

knee-bands,     '/i 
Figure  /. — Human  image  of  low-grade  gold  represented  as  in   the  act  of  pulling 

two  snakes  from  its  wide-open  mouth.     The  head-dress  consists  of  two 

serpent  heads.     Vi 
Figure  g. — Image  of  fine  gold  representing  the  alligator-god,  the  flattened  bars  at 

the  head   and   feet   each  being  a  common   body  for  the  two   alligator 

heads  attached.     Vi 

Figure  h. — Figurine  of  low-grade  gold  representing  the   crab-god  holding  in  his 

mouth  a  human  foot  and  leg  severed  at  the  knee.     J/i 
Figure   i. — Animal  figurine  of  fine  gold.     1jl 


MEM.  CONN.  ACAD.,  VOL.  HI 


PLATE  XLVI1I 


Plate  XLIX 

Series  of  gold  images  approximating  the  human  form.     Pages  209   212. 

Figure  a. — Group  of  two  figurines  evincing  skill  and  taste  in  the  art  of  casting.     '/, 
Figure  b. — Human  figurine  with  rattle  in  the  right  hand  and  a  reed-shaped  object 

held  to  the  mouth  by  the  left  hand.     */, 

Figure  c. — Human  image  probably  representing  a  musician  or  god  of  music:  c'.— 
Side  view  of  same,  showing  effects  of  having  seen  much  service,  '/i 
Figure  d. — Human  image  with  arms  terminating  in  rattles.  Lamson  collection.  '/, 
Figure  e. — Human  image  holding  a  rattle  in  the  left  hand.  Heye  collection.  '/, 
Figure  /. — Human  figurine  with  head-dress  resembling  the  "  skil "  of  the  Tlingit 

Indians.     Heye  collection.     Vi 

Figure  g. — Group  of  two  human  figurines  suggesting  the  art  of  Colombia.     Metro- 
politan Museum.     2/:j 

Figure  h. — Human  image  set  in  a  frame ;  h'. — Side  view  of  same,  illustrating  skill 
in  hammering  separate  castings,     '/i 


MEM.  CONN.  ACAD.,  VOL.  Ill 


PLATE  XLIX 


a 


s 


7  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

ANTHROPOLOGY  LIBRARY 

This  publication  is  due  on  the  LAST  DATE 
and  HOUR  stamped  below. 


General  Library 

University  of  Californi 

Berkeley 


RB  17-BOm-3,  63 
(D58088lO)4188 


U.C.  BERKELEY  LIBR;    ES 


T 


